Monday, April 30, 2012
Monday, April 23, 2012
Wednesday, April 18, 2012
Monday, April 16, 2012
What does language look like?I paint sound. I enjoy stripping words of their intended meaning into tones that cause the air to vibrate, resonate and sing. Like deciphering signs in foreign lands. Sometimes I leave a space filled only by primeval sound bites or onomatopoeia; while at other times images arise -the consequence of letters voicing their free will. The absence of meaning and weightlessness of language challenges the manner in which we look at images and how we interpret them.
The more I work with letterforms, the more intrigued I become with the in-between spaces of letters. What is that undefined shape that visually lifts itself off the background but is not a letter? Do the shapes enclosed by a letter or between letters have meaning?
The letter 'O' is fun to work with, basically it's sort of an oval with another oval shape in the middle, which represents a hole in the bigger oval. I wonder if there's really nothing in the hole or how big this 'nothing' is. Anyway, the whole point of the letter 'O' is that it's kind of a closed system, it's just sitting there and not going (or pointing) anywhere - except to it's center. I've arranged three O's to do just that, together. This image is part of a new series about closed formations or circuits.
Sunday, April 15, 2012
Folding Foton III, meant to hang to the wall, appears from a certain view as a cube. But it is not: none of the angles is square, and the form is open. I am making a fool of perspective. But for the same matter the object, made of paper, can be folded up and put away in an envelope.
Henriëtte van 't Hoog
Sarah Klein is a San Francisco Bay Area artist. She is currently exploring low-fi 3-D techniques in a series of stop-motion animations and works on paper. Klein recently exhibited her work at the Institute of Contemporary Art in San Jose, CA, US, De Vishal, Haarlem, NL and the Umami Festival in New York, US. In 2008 she began the touring curatorial project Stop & Go that features stop-motion works by visual artists and filmmakers. The project is now in a third installment with Stop & Go 3-D.
The term "Desire Lines" comes from landscape architecture, where it refers to the paths people create in response to an intuitive, internal logic, in spite of the imposed directive of the paved sidewalk. Web designers borrowed this term of real-world geography to describe the paths we create for ourselves through the architecture of cyberspace: the search terms that we enter on a website to find what we are looking for.
I translate the idea of desire lines into my work by manipulating materials to make line in unconventional and unpredictable ways. I establish a predetermined system, then loosen controls on the actual mark making. When making a line indirectly, I consider the difference between a line deliberately made and a desire line that occurs when the materials themselves are allowed to play a role in how it is formed.
Thursday, April 5, 2012
STOP & GO 3-D
Stop-Motion Animation Festival + Exhibition
Premieres this May/June 2012 Netherlands, Germany & Croatia
3-8 May • Amsterdams Grafisch Atelier, Amsterdam, NL
6 May • Kunst en Complex, Rotterdam, NL7 May • IS-projects, Leiden, NL
16 & 17 May • Fluctuating Images at General Public, Berlin, DE
25 & 26 May • Pula Film Factory, Pula, HR
21 May – 3 June • trenutak.39 in Association with Animafest, Zagreb, HR
Stop & Go 3-D screening features animations by Santiago Caicedo de Roux • David Daniels • Iemke van Dijk • Joey Fauerso • Gilbert Hsiao • Erik van Huisstede • Kalle Johansson & Bendik Kaltenborn • Sarah Klein & David Kwan • Abbey Luck & Sean Donnelly • Jodie Mack • Brian McClave, Claudia Molitor & Gavin Peacock • Kate Nartker • Mel Prest & Andrew Kleindolph • Johan Rijpma • Albert Roskam • Tal Rosner • Laen Sanches • Jennifer Schmidt • Molly Schwartz • Jeanne Stern • Mark de Weijer
Doppler Stop exhibition features work by Albert Roskam • Brent Hallard • Debra Ramsay • Gay Outlaw • Gilbert Hsiao • Gracia Khouw • Guido Winkler • Henriëtte van t’Hoog • Iemke van Dijk • José Heerkens • Karen Schifano • Kevin Finklea • Mel Prest • Nancy White • Patricia Zarate • Richard Bottwin • Ruth van Veenen • Sarah Klein • Steve Baris
Amsterdams Grafisch Atelier, Amsterdam, NL
Date: 3-8 May
Opening Reception, Artist Talks and Screening: 3 May, 19:30
Kunst en Complex, Rotterdam, NL
Date: 6 May
Screening & Exhibition: 20:00
IS –projects Leiden, NL
Date: 7 May
Fluctuating Images at General Public, Berlin, DE
Date: 16 & 17 May
Screening: 16 May, 20:00 / Additional hours: 7 May, 15:00-18:00
Date: 25 & 26 May
Contact firstname.lastname@example.org for more details
trenutak.39 in Association with Animafest, Zagreb, HR
Date: 21 May – 3 June
Opening Reception, Exhibition and Screening: 21 May
There will be alternating screenings of Stop & Go 3-D and Stop & Go Rides Again throughout the week. Contact email@example.com for additional information
More Screenings To Come!
14 July • Exploratorium, San Francisco, CA, US
13 October • Studio Quercus, Oakland, CA, US
Image Credits: Jeanne Stern, Gilbert Hsiao, Johan Rijpma, David Daniels
Tuesday, April 3, 2012
I have recently reacquainted myself with the philosophical question over whether we can be conscious about that for which we have no words. We constantly evolve as time passes and our culture and technology and the world around us evolves. The potential for the evolution of our senses is limitless; I try to bring into being visual experience that which we have not yet words for, but can experience nonetheless.
Everything I make starts with a sense of wonder about the difference between physical and visual space. It's about reality and perception, interpretation and misinterpretation, about knowledge, conscience, and the lack of it. The work is always space-related.
In this latest group of works on paper, I’ve created a vocabulary of simple shapes inspired by architectural interiors and exteriors, housing plans and furniture. I’ve also thought about the power of shape in African masks, in memorial markers, and other iconic kinds of forms. However, I’m not interested in having these shapes be nameable, but am more concerned with their polyvalence, their ability to be read in a variety of ways. I would like the viewer to be able to respond to the archetypal quality of these drawings and connect them up with memory, so that they become symbols that are richer by their complexity and contradiction.
Nested Forms is series of acrylic paintings on irregularly shaped Plexiglas panels. These pieces address my long-running fascination with the intersections of form, structure and notional space. Whereas in much of my other work, the forms are dispersed and randomly distributed over a larger surface, with the Nested Forms I aim to compress multiple shapes into a single, flat object. I am interested in how that object can simultaneously hold and lose its form identity when its component parts vary so widely in shape, transparency and other intangible surface qualities.
Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are configured to reveal surprising shapes and patterns with shifts in the viewer’s perspective. A sense of disorientation, implied weightlessness and the element of surprise are created by the reductive forms and subvert the modernist vocabulary of the simple constructions.