Audra Knutson’s work The Oblivion was carved and printed in conjunction with the print The Death . Also a hand-printed linocut, many of the details in this work are based on photocopies of images sourced by the artist from her local library. At the time she was making these works, she recalls looking at ‘beautiful, sad, timeless and stark photographs taken in old-work segments of Europe and being influenced by their aesthetic and emotional gravitas. In The Oblivion both movement and humans are present yet elusive: objects that are usually in motion appear still (a bicycle, a horse, a burning candle) and demonic-like masks obscure the three figures’ human qualities. There is a darkness and mystery present in both prints, which echoes the irrational nature of the novel by Rainer Maria Rilke, which was a source of inspiration for the series. As with Rilke’s novel, Knutson’s haunting images have an inherent disbelief, solitude, and profound anxiety.
Based in San Francisco, Audra Knutson is known for her delicate and intricate works that depict elements from nature as well as scenes and objects from the everyday. Working across printmaking, letterpress printing, bookbinding, painting, drawing, metalsmithing and weaving, her compositions fluctuate between figuration and abstraction and have a distinctive style that considers in equal parts the objects that she depicts as well as the space that surrounds them. In several of her compositions, white, empty areas surround and emphasize vibrant zones of organic geometry, patterns, textures and color. Often suggesting natural formations — from plants and animals to salt crystals, mountains, and rolling waves — Knutson’s works speak of her connection to the natural world. Although some pieces originate from her observation of her surrounds, Knutson also leans on and depicts images and knowledge from books and other artists. Several of her works are interrelated and presented as series, and often elements and ideas interplay and weave between series as well as between bodies of work.
40 ans du Frac ! — Gunaikeîon — Frac île-de-france, les Réserves — Exposition — Slash Paris Connexion Newsletter Twitter Facebook 40 ans du Frac ! — Gunaikeîon — Frac île-de-france, les Réserves — Exposition — Slash Paris Français English Accueil Événements Artistes Lieux Magazine Vidéos Retour 40 ans du Frac ! — Gunaikeîon Exposition Techniques mixtes Vue de l’exposition 40 ans du Frac ! — Gunaikeîon au Frac île-de-france, les Réserves, Romainville © Frac Île-de-France 40 ans du Frac ! Gunaikeîon Encore 2 mois : 15 octobre 2023 → 24 février 2024 Pour les 40 ans des Frac, il s’agit à la fois de repenser l’histoire de l’institution, écrite notamment par le biais de sa collection, et de tendre vers des futurs communs et désirables...
Employing both the High Modernist technique of abstraction and monochronism, as in the work of Lucio Fontana and Yves Klein, and bodily states of fetishization, Yea High (sweetpreparator) reworks the art historical canon of movement and the body to consider flesh as a physical construction of man-made matter...
Nidhal Chamekh made the first drawings of the ongoing series Mémoire Promise in 2013...
Singapore Biennale 2019: Interview with artistic director and curators | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Singapore Art Museum October 13, 2019 By Lee Weng Choy (1,969 words, 7-minute read) Contemporary visual art exhibition the Singapore Biennale 2019 will return on 22 November with Every Step In The Right Direction , featuring artworks by over 70 artists from Singapore, Southeast Asia and beyond...
Designed by the artist and fabricated in collaboration with Kashmiri artisans in India, Baseera Khan’s Psychedelic Prayer Rugs combine visual iconography traditional to Islam, such as the crescent moon and lunar calendar, with brightly coloured symbols of personal significance to the artist: a pair of embroidered sneakers, a fragment of an Urdu poem, and the Purple Heart medal...
Seven family members and a cat all squeezed into the small five-room house, where Motoyuki Daifu grew up in Yokohama...
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...
Artist Jesse Darling Wins Tate Britain's Turner Prize Skip to content Jesse Darling at the Turner Prize 2023 award ceremony at Towner Eastbourne (photo by Victor Frankowski/Hello Content; all images courtesy Tate) Jesse Darling has won this year’s Turner Prize , given annually to a British visual artist by the Tate museums...
Immolation I is taken from the four-part Immolation series which shows four Arab revolutionaries who publicly sacrificed themselves through self-immolation and in so doing heralded the beginning of the Arab Spring...
49/23 — Considering Technology, AI and Photography - Photographs by Gregory Eddi Jones | Interview by Liz Sales | LensCulture Feature 49/23 — Considering Technology, AI and Photography In his new thought-provoking series “49/23,” Gregory Eddi Jones considers the implications of rapidly advancing technology by intertwining vintage photography and AI-generated images...
Gastaldon has made a number of soft sculptures using materials associated with knitting and sewing that have alternately fetishistic, nightmarish or contemplative qualities...
Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...