Blindseye Arranger (Max) (2013) features a greyscale arrangement of rudimentary shapes layered atop one another like a dense cluster of wood block prints, the juxtaposition of sharp lines and acute angles creating an abstracted field of rectangular and triangulated forms composed as if in a cubist landscape. As the video progresses, however, a disembodied hand begins to move these forms, animating a pictorial frame that was previously still. The hand – ostensibly the “arranger” of the works title – functions as a metonym of the artist’s hand, quite literally bringing a motionless work to life. The hand in Blindseye Arranger , though, also signals a shift towards the performative, functioning as a reminder that all works of art are created by a maker’s “hand” and, in such, are never fully separate from the context in which they are made. Bress’s gesture towards interdisciplinarity in his work, by extension, signals an important moment in which questions of medium-specificity give way to more trenchant inquiries into notions of authorship and creative process.
Although originally trained in filmmaking and animation, Brian Bress explores the influence of pictorial traditions on contemporary media-based practices. His single-shot videos utilize painterly effects such as geometric abstraction to create visual compositions that blur presumed boundaries between contemporary media-based work and more traditional disciplines such as sculpture and painting. His work is deliberately processed-based and his videos, by extension, explore how visual motifs “evolve” over time through as a viewer engages with a given object or image. Animated figures and actors – such as disembodied hands – disrupt these seemingly still frames, repositioning these works in the context of film while also suggesting the presence of the artist’s hand. Bress’s videos may seem overtly indebted to creative lineages, and his images frequently border on the surreal. But in gesturing towards past works, his videos signal the emergence of creative practices enabled through technological advancements while also offering a meditation on a durational aesthetics privileged in media-based work.
Untitled is a black-and-white photograph of a wave just before it breaks as seen from the distance of an overlook...
In the 1980’s, while browsing Parisian fleamarkets, Barbara Bloom stumbled into an anonymous watercolor (dating to around 1960) in one of Paris’ fleamarkets, probably a study made by an interior designer for a bedroom...
Data mining is a computer software process that can involve the neutral or benign analyzing of internet data for patterns, however, it can also imply the more sinister activities of surveillance or subject-based information gathering...
Glenn Ligon’s diptych, Condition Repor t is comprised of two side-by-side prints...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
The photograph Exquisite Eco Living is part of a larger series titled Executive Properties in which he digitally manipulated the images to insert iconic buildings of Kuala Lumpur in the view of derelict spaces also found in the city...
Physical and mental exploration have been founding elements in Joachim Koester’s research for several years...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
For Untitled, Caesar encased recycled objects such as scraps of plywood, paper or cloth in resin and then cut and reassembled the pieces into abstract forms...
The image of rusted nails, nuts and bolts as shrapnel sandwiched between a fried Chicken burger highlights the contrast between decadence and destruction...
Mario Garcia Torres imagines cinematic devices to replay stories occasionally forgotten by Conceptual art...
The types of objects Feldmann is interested in collecting into serial photographic grids or artist’s books are often also found in three dimensional installations...
Mathew Brandt at Rossi & Rossi – ARTOMITY 藝源 Mathew Brandt / Learning to Surf Jan 27 – Mar 9, 2024 / Opening: Saturday, Jan 27, 2pm – 6pm / Rossi & Rossi 11F, 54 Wong Chuk Hang Road Wong Chuk Hang, Hong Kong +852 2116 5282 Tuesday – Saturday, 11am – 6pm rossirossi.com The outcome of Matthew Brandt’s (b...
On the first day of the Covid-19 lockdown in New York, Andrew Norman Wilson was evicted from his sublet and decided to board a $30 flight to Los Angeles that evening...
MUM , the acronym used to title a series of Rogan’s small interventions on found magazines, stands for “Magic Unity Might,” the name of a vintage trade magic publication...
While his works can function as abstract, they are very much rooted in physicality and the possibilities that are inherent in the materials themselves...
In his evocative Landscape Paintings, McMillian uses second-hand bedsheets, sourced from thrift shops, as his starting point...
Will Rogan’s video Eraser (2014) shows a hearse parked in a clearing amidst leaf barren trees...
This still life falls apart, or rather floats apart as the composition is proved unstable and constantly morphing...
In the series Horizons (2010), Lipps uses appropriation to riff on Modernism’s fascination with abstract form...
“The man who saw the man who saw the man who saw the bear” (Chinese whispers, broken lines and second-hand stories) Aurélien Froment (Angers, 1976) is attempting to arrange his archives Summer 1999: Summer job at the cinema L’Épée de bois, Paris Documents relating to Werner Herzog — including plans for Molly Aida (Fitzcarraldo’s boat) — are found in the basement of the cinema 2000? Photos of the foundations of the tramway in Nantes Jan...