Archive for the ‘arT’ Category
Tuesday, October 27th, 2009
It has nearly vanished from the American landscape. Some teenagers have never even seen one before.
But the once ever-present telephone booth has popped up on a street corner in this southwest Ohio village as part of an unusual art project and a statement about private communications in the let-everybody-know-what-I’m-doing age of Twitter and MySpace.
The project is the brainchild of Tokyo-born artist Migiwa Orimo, who had to search high and low for a phone booth before finding one in the Windy City.
“It was really in bad condition,” Orimo said. “The whole thing was black, pitted from Chicago weather on the street.”
Orimo polished up the metal structure, replaced its broken panes of glass and installed a mustard-colored telephone with a black rotary dial.
But it’s not a working phone booth. It’s a living interactive sculpture that will serve as a stage for poetry readings, light shows and dance performances over the next year.
Beginning Saturday, people will be able to walk into the phone booth, pick up the receiver and listen to a recorded rendition of the Spoon River Anthology, a collection of short poems published in 1915 that describe the life of a fictional small town. Seventy actors and others with ties to Yellow Springs were recruited to read the poetry.
“I like the intimate performance space,” said Rani Deighe Crowe, who came up with the poetry project. “You listen to this over the phone, which gives it that extra personal confessional quality.”
Crowe said she rejects the notion of trying to reach the largest possible audience, opting instead for a performance that can only be delivered to one person at a time.
“I’ve been really interested in trying to reach the smallest possible audience,” she said.
Orimo said she is trying to break the traditional boundary between the artist and audience, where people taking in the performance at the phone booth also become part of the art.
Orimo said the project is her reaction to Twitter, MySpace, surveillance cameras and other technologies designed to enable people to view and be viewed by others.
“Knowingly or unknowingly we do that every second of our lives nowadays,” she said. “But it’s all in a different kind of sphere — a virtual sphere. I wanted to sort of bring that question once again to the physical level by letting people see this piece on the street corner, which is not going to move anywhere.”
Kathy Thorne stopped to take a look at the phone booth earlier this week. She acknowledged that she is a bit overwhelmed by high-tech communication and yearns for the past.
“I wish I’d get letters from people from the mail instead of stupid e-mail,” said Thorne, of Sarasota, Fla.
U.S. pay phones — including telephone booths — numbered 2.6 million at their height in 1998, according to AT&T. The decline in pay phone usage was in part due to the growth of other communications channels such as cell phones.
While the Yellow Springs phone booth had a nostalgic effect on people old enough to remember them, it was a mystery to young people who passed by. One teen didn’t know how to open the folding door. Others commented that they remember rotary dials only from visiting their grandparents.
But Orimo has made a concession to the Twitter generation.
Inside the booth above the telephone is a digital clock/calendar. Orimo hopes that those who experience the phone booth art will record their thoughts on a log inside the booth. She plans to document what effect the phone booth has on the community over the next year.
“It redefines the notion of what an art space can be, while appropriating an everyday public facility as a place for intimate contemplation and even inspiration,” said Anne Pasternak, director of Creative Time Inc., a New York City-based organization that commissions and presents public arts projects.
Other artists have used phone booths to make statements.
Last year, Dylan Mortimer installed phone booths in New York City, Jackson, Tenn., and Cedar Rapids, Iowa, that were designed to resemble confessionals. Outfitted with flip-down kneelers, the booths were aimed at sparking dialogue about prayer.
The Yellow Springs phone booth sits on a downtown corner next to an ice cream shop and an array of wooden cafe tables. And even though it’s only been on the street for a few weeks, the phone booth has already made a splash.
Someone put a helium balloon inside the booth. And a cardboard robot appeared there last week and then vanished as quickly as it came.
“People are already finding a relationship with it,” Orimo said.
More at: www.telephoneboothproject.blogspot.com
Written by: James Hannah, The Associated Press
Source: www.daytondailynews.com
Tags: arT project, arThou, arTists, Migiwa Orimo, Ohio arT, phone booth projecT, street arT, Tokyo arTisT, unusual arT
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Friday, October 23rd, 2009
As ℓūfħer mentions on the brand new website at www.assholedrive.com, “We often strive to fight traffic,” and that is what we do. The name Asshole Drive says it all and, while the website has not many options, it’s a start.
ℓūfħer mentions that while it has just been launched and the work is progressing slow, this personal site will gain momentum as a blog and a number of resources for drivers will be added and as relationships are forged with automotive companies.
For now, however, lets get in and shame those who are being shameless.
Tags: arT, bad driver, bad driving, driving, driving violations, traffic
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Sunday, October 18th, 2009
 Tom Deininger's incredible recycled art First impressions aren’t always what they seem. Take this cute little bunny. It looks like a cuddly companion for a small child, but closer inspection reveals that this furry friend might be more appropriate for the smoker in your life instead. In fact, those who smoke may be the only ones who can appreciate both the rabbit’s appearance and its distinct perfume, a tobacco stench made possible by fur made from old cigarette filters.
Artist Tom Deininger collected discarded smokes from beach parking lots to create the above rabbit – which his website says “reeks of tobacco”.
 Tom Deininger’s incredible recycled art Perhaps the most incredible piece is this portrait created from recycled materials. It may look photoshopped in to place. But you’re in for a shock when you watch the following video.
Source: derrenbrown.co.uk
Tags: arT, arThou, arTists, controversial arT, meaningful arT, unusual arT
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Sunday, September 27th, 2009
 Man and beast, the connection was made physical by Charles Darwin in his theory of evolution in the mid-19th century.
Since then zoologists and wildlife documentaries have further drawn our relationship to animals, and a slew of artists have been pondering the same; and an exhibition at the UC Riverside’s Sweeney Art Gallery, “Intelligent Design: Interspecies Art” (through 28), has gathered some provocative of their projects. “In the past, art dealing with animals usually addressed issues of representation,” says Tyler Stallings, gallery director. “I wanted to expand beyond that.” And so, he points out, this being the bicentennial of Darwin’s birth made it seemed especially timely for such a show.
Stallings invited Rachel Mayeri, an associate professor of media studies at Harvey Mudd College who is well known for her interest in “soft science” and is an artist, herself to help co-curate the show. “I’m interested in art as a way of exploring science,” says Mayeri, also an artist. “Artists can think about biological issues through their work and make them more concrete.” Eventually, they selected 20 artists, mostly from California, encompassing video, photography, painting and sculpture. “We were looking for artists with a long-term commitment to trying to understand a different mentality, to appreciating what it means to be human,” Mayeri says.
Sam Easterson focuses on the animal’s point of view quite literally, by attaching minicams to creatures ranging from including armadillos, to falcons, from scorpions to and sheep, and letting them go on their way. The resulting clips end when the cam falls off, and are shown without narrative. Other artists get that subjectivity more obliquely, such as Catherine Chalmers’ video simulation of a cockroach moving through fauna and flora in “Safari” or Alison Ruttan’s video of a man mimicking a prowling cat in “Impersonator.”
The most controversial work in the show may be the reworked taxidermy of Carl Fernandez. Ten years ago, when considering additional uses for dead animals, she visited taxidermy shops and bought seven former-animals bodies. She re-created each as a piece of luggage, with openings and cavities. On exhibit will be two — “7100-Goat” is a goat reworked into a wheeled bag, its two horns projecting from the sides, and “7200-Buffalo” is a buffalo whose woolly head has been split open, presenting itself for packing one’s belongings. “Some people find the work disgusting,” Fernandez says, “but then they go out and have a steak dinner.”
For more images and details click here.
Tags: animals, arT, arT gallery, arThou, arTists, nature arT, soft science
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Sunday, September 27th, 2009
 When is a door not a door? When it’s ajar … or perhaps when it is shattered like glass. This piece is all the more surreal for being situated in a minimalist modern white room in what could well be the interior of a conventional contemporary house. Though artists might recognize this unusual frame job as artwork, this is doubtless not what carpenters mean when they refer to rough framing a wooden door.
 Puns and plays on words aside (or perhaps inside), artist Leandro Elrich has quite an elegant way of shattering our expectations (so to speak) in works like this one, where the properties of one material are experimentally applied to a familiar object made from another substance. The last thing a viewer expects is for an almost boringly ordinary door to crack and crumble like a sheet of glass.
 Knobs away! What appears to be a large door knob rests on the floor in front of the broken shards (still sitting loosely in their frame). Other works by Elrich likewise take typical settings, household furnishings and home fixtures like windows, ladders and curtains and add twists that turn these common situations and objects into visually and conceptually challenging works of art.
Source: dornob.com
Tags: arT, arT projects, arThou, arTwork, contemporary arT, elegant arT, wood arT, wooden arT
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Sunday, September 27th, 2009
Or at least until the 1930s, anyway. At the corner of Christopher Street and Seventh Avenue South in the West Village, in front of the iconic Village Cigars store, lies this blink-and-you’ll-miss-it mosaic embedded in the sidewalk.
 The tiniest plot of private property in New York Its tough-talking message: “Property of the Hess Estate Which Has Never Been Dedicated For Public Purposes.”
What’s the backstory? In the 1910s, when the city was expanding the IRT subway line, officials tore down a nearby apartment building owned by the estate of a New Yorker named David Hess.
A small triangle of land was left over, and officials wanted the Hess family to donate it so the city could extend the sidewalk.
Nothing doing. The Hess Estate fought it out in court, won the right to preserve their little plot, and embedded the tile plaque as kind of a victory symbol. In 1938, however, they sold it to the Village Cigar owners.
Source: Ephemeral New York
Tags: arThou, Christopher Street arT, Davis Hess, Hess Estate, new york arT, NY arT, sidewalk arT, Village Cigars
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Sunday, September 27th, 2009
 Tviga Vasilyeva The white forms in these photographs are the sculptural manifestations of audio footage that was recorded along the border between Russia and Finland. Here the unique old-growth forests stand, The Green Belt of Fennoscandia. Recently these ancient trees are being logged for their valuable timber. There are only few remaining areas of ancient forest in Europe with the vast majority of the vanishing old-growth forests remaining are in the North of European Russia.
 Tviga Vasilyeva “The soundwaves are actual objects, each is 6 metres high, reminiscent of the height of a tree, despite looking like digital intervention. I recorded them when the forest was still there. Then, when the trees had gone, I put the ‘sounds’ back to where they used to exist, sounds that look like trees that will never be heard again.”
For more, go to arTist’s website
Source: www.artistaday.com
Tags: 3D arT, arThou, arTist, audio arT, digital arT, Finland arT, Russia arT, sound arT, Tviga Vasilyeva, visual arT
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Friday, September 25th, 2009
 A public-art experiment is taking London’s art scene by storm. The project? Giving 2,400 people each an hour to do whatever they like in the city’s most bustling square. Twenty-three feet above London’s Trafalgar Square, a girl with long blonde hair stands on a platform, dressed as a mermaid. It’s 4:30 a.m. on a chilly Tuesday, and the square is still mostly empty aside from a few stragglers. The mermaid holds up a series of cardboard signs promoting a campaign for vegetarianism by the animal rights organization PETA.
At 5 a.m., a cherry-picker rises from the square, and she steps onto it. A lady from Yorkshire, less scantily clad, steps out with a wooden frame taller than she is. She spends the next hour gluing brightly colored bits of cellophane onto the frame to create a massive piece of art.
An hour later, her time is up, and as the first commuters start to make their way across the square, the cherry-picker makes its trip again. It’s sunny now, and the cellophane artist is replaced by a man in his early thirties, who demonstrates fencing moves with a heavy-looking sword.
All day and night for 100 days this summer and through October 14, the cherry-picker makes its hourly round trip, each time placing someone new onto the platform in London’s busiest square, where they are free to do almost anything they like. This experiment in public art, called One and Other, is the brainchild of sculptor Antony Gormley. Launched on July 6, the project aims to turn everyday people into art, putting them at eye-level with the long-dead generals who look sternly on from their own platforms, at Trafalgar Square’s other three corners. And so far, it’s a huge hit.
Over the course of the project, 2,400 randomly selected volunteers—selected from over 32,000 applicants—will scale what Gormley refers to as “the plinth.” Once they’re up there, they hula-hoop, play guitar, unfurl banners, release balloons, sing, paint, chat to the crowd—basically doing whatever they like. Inevitably, this means a handful of people have publicly stripped (one was politely asked to dress again by police). For others, this has meant dressing as a ninja to spend an hour knitting in the dead of night. Together, they form a sort of living portrait of a city at a time when the world could use a little more art in its life—and a little perspective.
 Future or future? Present, but subtly discuised beneath. Antony Gormley made his name with large-scale public artworks: his Angel of the North—a 66-foot steel sculpture modeled on his own body Event Horizon, — is possibly Britain’s best-known sculpture. His pieces, Another Place and Event Horizon, place eerie, multiple life-size casts of his body along stretches of windswept northern beach, and over 31 London rooftops respectively (Event Horizon was a temporary piece). In its repetition of human forms, One and Other is very much a continuation of his ideas.
Even by his standards, though, it’s ambitious. Launching the project, Gormley said he was aiming to create a “portrait of the U.K. now” that offers “the chance for you and I to have a look at the world from the point of view of art.” (He won’t actually perform, however; he hasn’t been randomly selected.)
Londoners have become addicted to the spectacle, with anywhere from two to 200 passersby gawking at any given time. The project is also streamed live and saved online, where a vocal community of plinth-watchers discuss each person on the site, on Twitter, and on Facebook, coining phrases such as “plichés” (for clichéd plinth behavior) as they go.
Part of the project’s appeal is the unpredictability of what might unfold. Shortly before 11 p.m. on a Monday night, while a lady on the plinth holds up placards giving thanks for her kidney transplant, a white-haired man named Tom tells me he makes the trip to Trafalgar Square from north London a couple of times a week, just to see what’s happening. “I just like it. It’s something different, isn’t it?
Standing nearby, a talkative, compact man called John looks wistfully up at the plinth and relives his moment of glory to anyone who will listen: The previous Saturday afternoon, he dressed in a Union Jack and threw 200 roses to the crowd in memory of Princess Diana.
People get hooked on plinth-watching, even from further afield. Anthony, a neuropsychologist, tells me by e-mail that he hasn’t visited the plinth, but, “I try to watch the 2 a.m., 3 a.m., 4 a.m., and 5 a.m. slots online each night,” he says, “with a particular affinity for the 5 a.m. dawn slot.” He explains that he became a regular viewer after watching one lady, who hummed to the square at 3 a.m. “It was without a doubt the best piece of performance art I have ever seen… I got ‘it’—what Gormley was wanting this to be.”
So what does Gromley’s portrait of the U.K. show? Person by person, it picks out a picture of a nation that’s by turns earnest and eccentric, attention-seeking and contemplative. Hundreds of people use their hour to raise money and awareness for good causes, while others take the chance to show the world their singing or juggling, or to spread a little sunshine with bubbles and balloons.
Perhaps inevitably, as the project has gone on, the bar has been raised as people realize that others really are watching. Plinthers from outside London have found they’re the talk of their towns, appearing on local news and in the papers. Particular performances have been keenly discussed in letters pages of London papers and on Twitter, while highlights from each week make it onto a weekly TV show about the project. And over time, the banners have gotten bigger, the weird has gotten wackier, and the plinth has become a platform.
While at first many got up just to be there, now plinthers aim to be seen. These figures are nothing like Gormley’s other sculptures, silent and faceless: They’re noisy, whether for a cause or just for the feeling of an hour in the spotlight.
One and Other is a product of its age. It takes place both live and online; on the one hand it’s intimate — living, breathing and made up of people like you and me — while on the other hand it’s curiously anonymous, scrutinized and commented on through the internet, every hour recorded and watched by people from all over the world. It aims to celebrate ordinary people, but gives them an opportunity to show themselves as anything but ordinary.
As a contemporary art project, it’s been fantastically successful: More than 400,000 people logged onto the site in its first three weeks, while countless more have found themselves stopping to watch as they head through the square.
In some ways, it’s the perfect public monument to our short-attention–span society: if you’re bored or disappointed by a particular performance, not to worry. At the end of each hour of the day and night, the cherry-picker makes its way back up from the square to the edge of the 23-foot platform, a person steps off the plinth, and another steps on, ready to begin their hour as a living work of art.
Photos by (in order) flickr users paulsimpson1976, mittfh, and pikerslanefarm.
From the blogger : Isn’t that unbelievably arThou!
Tags: Anthony Gormley, arT, arT project, arThou, contemporary arT, London arT, Trafalgar Square arT
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Tuesday, September 22nd, 2009
 arTistic Visions What is it that makes a truly effective piece of graphic design? Is it just the skill that allows an artist to balance shape, color, texture, typography,photography and negative space to send a message – or is there a bit of magic to it? Creative talent is a tricky and elusive thing for most of the population, but some lucky people have it in spades.
These 15 graphic designers have managed to create work that stands out in a crowded field, using a diverse array of techniques, programs and materials.
 Joshua Davis <a href=”http://www.joshuadavis.com/”>Joshua Davis</a> is one of the most influential talents in the history of graphic design, with an incredibly vast portfolio of work that has made a deep impression upon many other graphic artists worldwide. Davis, who is now a professor at New York’s School of Visual Arts, pioneered a type of graphic design that utilizes Flash-based programs that he created himself to build images of “dynamic abstraction”, as Davis himself describes them.
Joshua Davis is one of the most influential talents in the history of graphic design, with an incredibly vast portfolio of work that has made a deep impression upon many other graphic artists worldwide. Davis, who is now a professor at New York’s School of Visual Arts, pioneered a type of graphic design that utilizes Flash-based programs that he created himself to build images of “dynamic abstraction”, as Davis himself describes them.
“Working this way allows me to generate an infinite number of compositions,” Davis explains in an Apple Pro Profile. “I set the boundaries and the rules, but whatever comes out at the end is a surprise. I don’t know what’s going to happen. It could look cool. It could fail. It could be life-changing. There’s always a surprising sense of discovery with this process, because I’m setting up an environment and allowing a scenario to live within it.”
 Pawel Kaminski There’s a sense of movement and urgency in every single one of Pawel Kaminski’s designs, something that gives them a vitality that can’t be ignored. Kaminski, of Poland, is quoted by SpeckyBoy as saying “I wouldn’t attribute my design passion to any serious philosophy, I feel this is a good way for artists and designers, you have to be open to most adventures from life. And sometimes a simple lack of words can be easily expressed through illustrations and art, design what you love.”
 Pawel Kaminski If there’s one element that ties all of Chuck Anderson’s creations together, it’s light. Anderson’s work is bursting with light effects that make his designs crackle with intensity. The prolific young designer has worked with an impressive range of clients including Paste Magazine, ESPN, Reebok, Absolut Vodka and Honda.
Anderson told Abduzeedo, “I don’t think I really have a set source of inspiration. To be honest, I just really love creating things that are striking and fun and vibrant. Things that jump out as far as color goes. You’ll see in my work a lot of times really intense light and color – I really enjoy creating things that feel supernatural and like they came straight out of my imagination.”
 Dries Schaballie Graphic design, concept art, art direction, illustration, 3-D modelling – Dries Schaballie does it all. Co-founder and director of Sevenedge Interactive Media, Schaballie has a fascinating portfolio of works that are alternately dreamlike, gritty and playful.
 Simone Magurno San Francisco-based, Italian-born graphic designer Simone Magurno has worked with Nike, Microsoft, Xbox, Target, GAP and many other clients and her work has been featured in Computer Arts Magazine and Digital Arts Magazine. Her designs, which are often web-based, have a clean, slick, modern quality that really allows the content to shine.
 I Love Dust The team at ‘I Love Dust’ design – one part Icelandic, five parts English and one part Chinese – can’t be separated from one another when it comes to their work, but their designs speak for themselves. Specializing in graphic design, illustration, motion graphics and product design, this team of creative powerhouses has one of the most distinctive styles in the biz.
 Erik Finsrud/The Norik Erik Finsrud, known as ‘The Norik’, went to school for audio engineering but fell in love with design somewhere along the way and now spends his days creating colorful graphic art for clients like Spike TV, Nestle, 1800 Tequila and Universal.
On his website, Finsrud notes, “Design to me, is about stripping away arbitrary distractions from the communicated message. Aesthetically I feel a design should be stimulating to the point of curiosity. A lot of my work also falls into illustration, which I feel is more about creating a visceral experience, although I still have a tendency to apply the minimalist principles of design.”
 Paul Lee Graphic designer Paul Lee of Los Angeles has worked with Lexus, Acura, Google, Adobe and Sony. His work has a characteristic elegant iciness to it that makes it all the more memorable, and results in a cohesive portfolio that reads almost like one continuous piece of sophisticated design.
 David Mascha Vienna-based artist and designer David Mascha who has been working with several different design studios since 2005. Mascha’s work has been displayed in exhibitions in Asia and Europe, print magazines and books and has also appeared on lamps, furniture and clothing. Mascha has a whimsical abstract style, employing bright colors and bold patterns and shapes against stark backgrounds for maximum graphic effect.
 Kevin Lucius Kevin Lucius is a graphic designer from Columbus, Ohio. Among his more recent work, an interesting retro modern aesthetic has emerged, mixing vintage colors, textures and imagery with clean, modern shapes.
 Julien de Repentigny Bold, exciting, fresh and most of all, fun: all of these words can be used to describe the work of Montreal graphic designer Julien de Repentigny. Typography takes center stage in three-dimensional designs created from materials like paper, ice and candy. Such unusual physical methods of creating his work might just make him the antithesis of completely computer-reliant graphic designers.
 Kofi Ansah Ghana-born, Italy-raised and UK-based graphic designer Kofi Ansah is only 20 years old, but his eye-catching work leaves little doubt that he has a long and distinguished career ahead of him. Ansah is currently an undergraduate student at the Ravensbourne College of Design and Communication in Chislehurst, Kent.
 Formtroopers Creative partners Toke Blicher Moller and Jeppe Bingestam, a.k.a Formtroopers, run a full-service progressive design studio in Denmark with a particular focus on motion and graphic design. Clients include MTV, The Discovery Channel, Pepsi and Warner Music.
 Rob Morris Australian graphic designer Rob Morris describes his style as “heavily influenced from the modernist school of design, employing simple shapes and clean typography.” His work has appeared in online design galleries, magazines and books worldwide and his clients include government departments, Broadway.com and rapper Jay-Z.
 Justin M. Maller Another Aussie, Justin M. Maller, has an altogether different style that focuses on his immense talent for illustration – but also, coincidentally, did design work for Jay-Z. Maller, based in Melbourne, has produced concept art for a diverse array of companies worldwide and is the creative director of depthCORE, an international modern art collective.
Source: weburbanist.com
Tags: arT, arThou, arTistic vision, computer arT, computer-generated arT, generated arT, graphic arTist, graphic design, interesting arT, psycodelic arT, visual arT
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Friday, August 28th, 2009
 Amazing Designer's Unusial Perspective It’s often said that there are no unique ideas out there – only unique means of executing those ideas. Swiss artist Felice Varini, however, has been executing his incredibly unique ides in a unique way since 1978. His singular style of geometric painting calls into question our ideas about complex art pieces and the interaction between art and viewer.
 A Vision of Unisial Artist Upon seeing Varini’s work for the first time, most people react by claiming it’s fake. Indeed, when looking at a photograph of a Varini painting from the vantage point, the painted object does appear to float in mid-air, like it’s been overlaid in Photoshop. But once you see the same painting from outside of the vantage point, it’s clear that the piece was created in real life without the use of computer trickery. He paints shapes and geometric patterns in three-dimensional spaces, so that when the viewer sees the piece from a specific vantage point it makes sense, but when viewed from outside of the vantage point the shape appears skewed and distorted.
 arT of infinity Though the technique looks incredibly complicated, Varini insists that “anyone can do it.” He says that his type of painting requires no special talent; rather, it requires thinking and choosing the right spaces. The spaces he tends to choose are wide-open interior spaces, such as museums and hallways, or exterior locations like rooftops or even entire villages. His goal, he says, is to explore aspects of the space that have heretofore been ignored.
 arT of Life  arTist school!
Although you can only see the complete, sensical painting from one specific vantage point, Varini insists that the most important aspect of his paintings is what lies outside of the vantage point. The myriad configurations viewable from every other possible aspect are what keep him inspired to continue creating these complex paintings. While the vantage point offers a predictable view, looking at the piece from any other spot creates an entirely new and unpredictable experience.
 The Unknown of Science  Science understood, World Not Thinking and creating much different than most other artists, Varini has indicated that he never considers the viewer when creating his paintings. He doesn’t consider how the pieces may someday be seen because he doesn’t know how or from where the viewer will see them. He simply creates a piece of art and sets it free to have an independent existence. According to Varini, the viewer can see the piece, be part of the piece, or even walk through it without noticing it or being able to identify it.
 Vision: Reality or Sense? In the artist’s words, from an interview with Poetic Mind:
“Everyone knows how a circle or a square looks like. My concern is what happens outside the vantage point of view. Where is the painting then? Where is the painter? The painter is obviously out of the work, and so the painting is alone and totally abstract, made of many shapes. The painting exists as a whole, with its complete shape as well as the fragments; it is not born to create specific shapes that need to satisfy the viewer. The paintings are not defined by the understanding of the viewer or what the viewer sees, but rather exist in their own right, and have their own relation to the three-dimensional space in which they were created. I work with the reality itself, with nature.
 Future, present in past. Although he creates his paintings on-site and usually on a large scale, Felice Varini does not consider himself an installation artist. He calls himself a painter, because regardless of where or how his art is realized, it is – at its core – a series of complex and beautiful paintings.
Source: weburbanist.com
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Tags: arT, arT project, arT scene, arThou, paintings
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