A stunning display by Japanese flower artist, Azuma Maoto. More, here.
There’s a fascinating read in the NY Times Style magazine on another flower artist, Satoshi Kawamoto, the artist and creative director behind installations for brands like Filson, Gant and Mr Porter. Read it here. (Via)
Flowering Potatoes, Dairy Drove, Ten Mile Bank, Aug 2014
Acrylic on panel
116 x 123cms
Vanishing Lines is a current exhibition by the Norfolk-based artist (and friend) Fred Ingrams.
Painting en plein air, Fred captures the flat marshland typical of the region in vivid and dramatic colour.
Vanishing Lines, Art Bermondsey 183-185 Bermondsey Street, London SE1 3UW
until Sunday 17th May 2015.
More images from the opening night on owl’s house london Instagram, here
Koluma 01, architecture Peter Zumthor, 2007. Photograph, Hélène Binet, ammann // gallery
Tightly cropped and thick with atmosphere, Hélène Binet’s photographs capture the play of light on the structures of some of contemporary architecture’s leading figures, including Zaha Hadid, Daniel Libeskind and Peter Zumthor. Binet is this year’s recipient of the Julius Shulman Institute Excellence in Photography Award.
Hélène Binet: Fragments of Light, February 28 — March 29, 2015. Woodbury University Hollywood Gallery, 6518 Hollywood Boulevard, Los Angeles, CA 90028
Fabulous abstract, graphic, black and white forms by Emil Kozak, in a new exhibition within Box in Denmark.
LYNfabrikken, Vestergade 49, 8000 Aarhus C, Denmark, until February 15 2015. More, here.
A XI 2011
Crossing the boundary between photography, art and sculpture, German artist Christine Erhard’s work is familiar and ambiguous at the same time. The architectural subject matter and modernist aesthetic seem familiar, until the unusual viewpoint and use of materials cause the imagery to appear distorted and other worldly.
Initially studying sculpture, Christine Erhard became increasingly interested in the images of the object, rather than the objects themselves, until photography and its ability to manipulate became her primary focus. She explores various movements within Modernism, with the avant-garde architecture of the Russian Constructivists a theme she returns to over and again.
Christine cites artists of the 1920s such as Laszlo Moholy-Nagy as her inspiration; artists who work in various disciplines – painting, poetry, graphic design, photography. Like Moholy-Nagy, there is a strong graphic quality to her work. For me, these works are both familiar and enigmatic, and very appealing.
MI II 2012
More of Christine Erhard’s work, here. All images courtesy of the artist.
Like Ampersand house (I write about it here and here), this home in Antwerp doubles as a gallery space. The first thing that one notices is the wall colour: an intense, muted grey/green. The second thing is the cobblestone floor and exposed brick. Originally built as a workshop in the 19th century, it translates beautifully into the 21st, with contemporary materials – resin floors and polished concrete elements – adding to the simple fixturing that allow the gallery’s pieces to be shown to best effect.
Much of the furniture is by Muller Van Severen, who describe their pieces as ‘sitting somewhere between art and design’. I love their simple, industrial but elegant aesthetic.
Gallery house in Antwerp via AD. Photographs: Ricardo Labougle
It’s art fair season here in London, and the big daddy of them all, Frieze Art Fair, concluded at the weekend.
The white box format with which galleries usually display their wares was changed perhaps for ever more by the innovative booth of Helly Nahmad gallery. The booth, called ‘The Collector’ was a perfect replica of the Paris apartment of a fictional art collector called Corrado N, dating from 1968. Replete with old issues of Paris Match, overflowing ashtrays, and the artwork of Picasso, Miro and (my personal favourite) Lucio Fontana, the studio portrayed the life of a ‘passionate, intellectual reclusive’, who lived and breathed art.
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