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Harding belongs to a group of artists difficult to evaluate. Easier to analize a selection of his interesting works in spite of the fact, that I am not able to find out how he made his products.
Harding, Alexis, Title:Profile (Blue), Date: 2000, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
Here is an example for a work I can not see the technique of making. First of all this is an attractive and interesting work in spite of the fact that it fails to require prolonged examination. It fits well to offices, inner passages as decoration. Two possible techniques are suggested. One is a painstaking work of drawing and painting a white pattern over a monochrome blue canvas. Alternatively he might use a prefabricated, likely textile surface glued over a blue background. In that case I can not see how the sizes of the small rectangles change. Perhaps the white pattern is a relatively heavy and a bit elastic thing which would explain what we see.
Untitled, Date: 1995, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
This work is less attractive for me. The technique might be similar: some artificially painted or originally black wire nets (or perhaps textile ones again) are stretched over a red near monochrome surface. The partial overlap of the two nets and the distorsion of the right side generate interests. In addition we should note that thickness of the black „lines” varies considerably. This variation might be due to putting a thick stain over parts of the net.
Pulmonary painting, Date: 2006, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
Taking it as he says: painting with mixed techniques generates confusion in myself. That of course may be my faults. But if so how does the underrun of the red part born on the bottom? Presumably a dark textile net was glued over a near monochrome red surface in a way not to stretch smoothly. In contrast, the net was let or made not to being flat therefore the overlapping parts generated an interesting pattern. As the previous ones, this artwork needs no to prolonged examination, a quick glance is sufficient to take the messages if any.
Ruinart III, Date: 2001, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
For sure he used here a patterned textile stretched over the canvas and broken (tired apart) here and there. The black pattern is far more interesting than in case of the aboves. It reminds me to parts of some old Chinese paintings. As likely well known, Far Eastern artists learn by copying works of old masters and develop styles not far from parts or spirits of the old works. This is a remarkably interesting and very attractive fairly complex artwork. I like it very much.
Halt (Site Specific Painting), Date: 2006, Movement: Art Now / Recent, Theme: Abstract
Technique: Mixed technique.
There is an apparently simple way to achieve an effect. Take a frame, stretch upon some canvas – or take an artificial wood plate, set in vertical and poure a lot of stain over. The stain will overrun on the bottom resulting in a large spot. The effect is simple and the overrun on the bottom suggests richness in using stains. I do not like it – but it is a very subjective opinion. Anyone is welcome to discuss.
golyho (May 9, 2010)
I am by training is a biologist, therefore all related artworks are especially interesting for me. Holten is a good example. And she offers a good excuse to talk about complexity of life.
Holten, Katie, Title:Paths of Desire, Date: 2007, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Installation
Not many of us are aware of the fact, that visible part of trees are as big as that in the deep soil, hidden form their arborization up the air. I must appreciate the technique of removing this huge (at least in dimension of exhibition rooms) tree together with most of the deep roots. There is a technique I know: dig a huge gap next to the roots without harming (cutting) them too much. Using of some strong water jet to remove, in fact wash out the soil until the roots get clean and nothing else fix the tree in place. Subsequent removal, which is hard work indeed, may result in a remarkable thing shown here. The reason is just a calling attention of the elaborated patterns Nature can generate. It is as important as trials showing forces of life in general. Let us remember effect of recent bursting of a vulkano! Many of us enjoy the branching of trees – all of them likely appreciate branching of roots as well.
The Black Tree, Date: 2005-07, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Installation
There exists a kind of psychological test: one is asked to draw a tree and the experts evaluate the complexity and putting it on places of the paper sheet after which they conclude upon the inner life, fantasy and some else on of the person evaluated. I do not think that many would able to draw trees as complex in arboreal of large and likely old real trees. Miss Holten left the roots out in this installation probably using a chainsaw to cut the remarkably thick trunk covered it in a black plastic layer. It would have been an easy task to find a way of moving and mounting the tree inside a likely big exhibition room and finally fixed it somehow to prevent falling down over visitors. The branching pattern is interesting and even nice for somebody, but I do not see why it should be considered as artwork. Rather, it is an illustration of complexity of life.
The Golden Bough, Date: 2010, Movement: Art Now / Recent, Theme: Other/Unknown
This installation is airy and minimalist just like a Japanese or Chinese woodcut. For me it is far more matured artwork than the ones using huge trees. Little things suggest more than big elaborated ones especially due to complexity of branching. As we see here, complexity is not equal with large numbers but special forms. Branching in itself means a variety of direction to be followed and perhaps mentally elaborated by whom the artworks are appreciated.
River Delta, Date: 2006, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Pen and ink
Nerve cells branche just like the roots or branches of trees and bushes. Why are they so similar? Where is the common spirit who or what organizes them to being almost the same? Old questions will have to wait for a long time being answered. Now we should include flowing rivers into the above common scheme. It is true that in case of rivers the little branches join for bigger flows while trees and nerve cells branch in the opposite direction small and short parts expand from bigger and thicker ones. Mother Nature is complicated indeed.
New York Weed (Longspine sandbur), Date: 2005, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Pen and ink
Delicate beauty has been my first impression when finding this artwork. This little plant including of its rich and fine roots even rootlets belongs to the same class of works than the big trees considered above. The pattern is lovely and I prefer the small dimensions and elaborated lines. As I have just said mother Nature is complex while our taste is different.
golyho (Mar 24, 2010)
Obvious similarities exist between Rothko and Soulages. However, as we see below, there are important differences too. Still, it would be hard to establish a set of consistent pattern sufficient for some correct way following which the techniques and styles of the two masters would be easily distinguished. One can examine single artworks and analyse why and in what respect Soulages should not be mixed up with Rothko. To confess, I like Soulages but prefer Rothko. Both fit well into the category of Lyrical Abstraction.
Soulages, Pierre, Title:Brou de noix (A-5), Date: 2004, Movement: Lyrical Abstraction, Theme: Abstract, Technique: Mixed technique.
At first glance it is like a Rothko. There are however distinct differences between works of the two masters. Rothko rarely stains his big spots from end to end of the canvas like it is done here. Both masters avoid strict monochrome surfaces but here there are a strong horizontal pattern – traces of the tool used, for example an extraordinary wide flat brush. The techniqual details are unknown for me it seems to be made by diluted acrilic overpainted by a less diluted and darker stain.
Peinture, Date: 2005, Movement: Lyrical Abstraction, Theme: Abstract, Technique: Acrylic
In contrast with Rothko’s style here we are dealing with a set of strictly horizontal narrow grey lines and apparently made after staining the top part to near homogeneous first and lined afterward into the still fresh stain by a kind of tool for example a wooden stick. The black bottom is nearly monochrome let as consider to be so. The contrast between the two parts generates percepting some strong vibration – at least in my eyes. The black bottom makes the composition „down heavy” – an often used conventional design.
Untitled Composition, Date: Not dated, Movement: Lyrical Abstraction, Theme: Abstract, Technique: Lithography
Here is an example for his artworks other than the large and wide horizontal strips. Traces of brushwork are obvious, the retarded coloring fits well but not demanded by the technique. It is a strange and delicate balance among the strips. The longest one near right is adjacent to two short traces. In contrast, several shorter one balances on the left apparently pushing the composition down but holding back by the group of a few longer one. That results in a kind of asymmetry which in turn makes the composition exciting.
Untitled, , Date: 1982, Movement: Lyrical Abstraction, Theme: Abstract, Technique: Oil on canvas
I have been looking specifically for a colorful one, this fits best for my search. In spite of the large rectangular form the lovely blue surface is far to be monochrome. Even the wide black ribbons on top and on the right reveal traces of either a big brush wet with inhomogeneous stain, or some other tool convenient for large scale work. The painting radiates calmness with deep suggestive force.
Untitled, Date: 1975, Movement: Lyrical Abstraction, Theme: Abstract, Technique: Other/Unknown
This composition reminds me to some Chinese character (kanji). Due to my unfortunately quite limited knowledge, this design is not characteristic for Soulages. It has benn and perhaps still is a pattern using characters not only form Asia but also from Europe including Latin and including mirrored ones too. The facture of this ones suggests something like stone surface. For me it is a very interesting design.
golyho (Mar 19, 2010)
What excites me is his wide strips. As it has been my first impression, he apparently works with big brushes perhaps wide and flat bristles. Other tools are also available for achieving similar effect, what counts is the results. Instead, however, he uses quite original and complicated techniques creatively.
Annerel, Stefan, Title:DUNOON, date: 2008 Movement: Other/Unknown Theme: Abstract Technique: Acrylic .
The best way is to quote his own description on what we see: 32 x 29 cm Acrylic, adhesive tape, resin on panel and glass.
Provided that magnification is sufficient, different materials come with various facture. This generates interests of course. It is likely that the facture (color mix) can not be predicted during the process, which means that decision on the dilemma of good or wrong should be made afterward. Wrong ones should be destroyed – or put aside as wrong experiments. Sharp edges appears to be associated closely with the adhesive tape. Glass sheet can either be painted upon or pressed on the still wet resin or stain to obtain interesting details on surfaces.
CATALAN, Date: 2009, Movement: Other/Unknown, Theme: Abstract, Technique: Acrylic
According to his description, the technique is the same, he has been using a variety of materiel to work with and/or upon. It takes me no time to get attracted by the bright yellow tints and hues. The forms belong to the „free” category being far form rules of strict geometry. This results in a nice but slight undulation which let the brightness of colors dominate.
MOWAY, Date: 2009, Movement: Other/Unknown, Theme: Abstract, Technique: Acrylic.
This composition is a bit simpler and allows deciphering details easier. Almost monochrome large blue vertical panels dominate and cover partially some horizontal strips texture of which appears wood for me. Some of the horizontal components is painted light blue, there are dark deep blue vertical strips too in addition to some others with more colors including little warm parts. From a distance, the composition gets nicely balanced as the rather sharply separated strips merge into a near homogeneous field.
WRENS, Date: 2009, Movement: Other/Unknown, Theme: Abstract Technique: Acrylic.
This might be another version of the theme of vertical blue. I prefer this one. It appears to painted on glass on where adjacent colors merge smoothly each other resulting in some effect likely impossibile to make by brush. The bottom third is a bit more colorful including again some relatively warm spots. Continued examination initiates a variety of percepted forms – which are perhaps not painted there just come from our mental work.
RIBBONS, Date: 2008, Movement: Other/Unknown, Theme: Abstract. Technique: Acrylic.
I selected this composition as an example made of some extremely complicated details. It is a matured works full with warm colors, arranged mainly along a vertical axis. Shape of single forms are just as complicated as their colors. Words like red or orange gets meaningless since hue can not be circumscribed sufficiently. Still the composition remains unfragmented very nicely balanced. Close examination or a glance from distances both reveal characteristic components which are not to be percepted as „something like…” but command the plane in themselves.
golyho (Mar 16, 2010)
She is a remarkable artist as it is evident since she has won several presitigious prizes.
Abts, Tomma, Title:Folme, Date: 2003, Movement: Art Now / Recent, Theme: Abstract
Technique: Mixed technique.
What made me to pick first this artwork for you is the relative emptiness of the central region. The ribbons are pushed toward the edges of the canvas and even goes beyond them. However closer examination reveals a pattern of faint lines too. Technique of producing these lines are unknown for me, and presumably many of us too. Purpose of using them is generating a strange effect balancing at the border of mistakes and careful sophisticated composition. Skill in making them needs attention indeed. However we should regard the careful precalculated shadows and balanced colors also as important concept of that artwork.
Schwiddo, Date: 2008, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
Circles, my favourite geometrical elements on paintings. Unfortunately nobody seems to get excited to write on or discuss me on that subject. The two full circles here are not simple due to darker borders and the straight lines. It feels that the center points of the circles are arranged in the same horizontal axis and the oblique lines close the same angle with that axis. There is a relative little monochrom background but the largest set of components is the relatively dark lines. Calm and nice composition.
Onno, Date: 1998, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
Reminiscence for certain artworks of Vasarely is evident, I suppose. Small circles set in columns and rows while their sizes are modulated systematically toward smallers and back to largers. As for the colors are concerned there are two major classes – one close to bright orange and another of fairly pale blue. Pale and dark – a difficult combination on hue and strength (brightness). She keeps patterns of circles regular: slight modulation in size, modulation in colors does not destroy pattern of orange-blue circles. Their relationship generates an exciting vibration and calls for interest over and over again. Visual illusion is involved too.
Obbe, Date: 2003, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
Curved forms like petals of some flowers. She succeeds in keeping colors in a warm region of mixing browns, terracotta-reds and yellows. To confess, this is my favourite from the set shown in the website. I like the balance of colors and form, reminiscence of the letter ones to some primitive masks. I like the carefully drawn ellipsoid contours and the way of pushing the composition „into space” due to overlappings.
Teite, Date: 2008, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
Sharpness and edges – these are my first impressions. Simplicity and power is the result. Except the two forms curving up and down all lines are monochrome with complicated overlaps. All these little tricks help to percept space. I am aware of the fact talking too often on the problem of illusion of a third dimension on paintings, but on the other hand exactly this problem keeps hundreds of artists excited for a long time in the past and likely in the future too.
golyho (Mar 12, 2010)
He often combines extremely simplified design with complicated forms. This is a conflict resulting in confusion, I know, but fits for his artwork. As you imagine complex forms often associate conflict with reduced set of colors since more details need attention. Attention generates interests, exactly what we expect looking at artworks.
Tremlett, David, Title:3 Forms in Space #2, Date: 2008, Movement: Art Now / Recent, Theme: Abstract, Technique: Pastel.
Space felt important to note in the title comes from combination of overlapping and color perspective. All of the three polygons can be imagined as running out of the edge of canvas. This is source of tension and calls for explanation not provided by the composition. However why should be all details explained? Why not they are simply accepted as coming from freedom of artists in producing artworks? Joy and understanding are not go hand in hand an arts.
4 Forms in Space #2, Date: 2008, Movement: Art Now / Recent, Theme: Abstract
Here we see four polygons. Three of them cover in part others while the fourth with rounded edge gets separated, almost independent from the others. Partial overlapping of polygons suggests space but this perception is counteracted by color perspective as darkest forms are percepted as the most distant behind the plane of canvas. Red on the left brings space perception forward again as warm colors usually comes forward.
Tremlett, David, Title:Drawing #1b Naples #1d, Date: 2009, Movement: Art Now / Recent
Theme: Abstract, Technique: Pastel.
More forms and more elaboration are to be seen. However the often used idea survives as the forms appear to continue over the edges of the cartoon. On the other hand we should not exaggerate roles of edges in cutting forms. Forms could be considered complete in reaching the edges and one can forget possibilities regarding larger forms as loosing smaller parts of them just because they happen to be cut. After all polygons appears and often be percepted as having sharp edges therefore one may accept accidental cutting by the frame of artwork as irrelevant. Admittedly, the perception is strongly influenced by the apparent size felt missing due cuts. The problem can be discussed ad infinitum, ignoring freedom of artist painting what they feel proper.
Horizontal & Vertical, Date: 2008, Movement: Art Now / Recent, Theme: Abstract
Technique: Mixed technique.
Number of forms reduced to two while elaboration of them got a bit more complex by the near white strips. This artwork has been selected to continue the above discussion. Here we deal with a composition where the colored parts do not even get quite close to the frame – and we percept a clear background-component relationship. Obviously preferences of our taste are different, some enjoy clean sets of compositions, others are not disturbed when frame appears to cut forms.
Sketch 2A for a Wall, Date: 2004, Movement: Art Now / Recent, Theme: Abstract,
Softness is the first impression initiated in my mind by this artwork. I percept three panels produced separately and assembled later. Otherwise the technical problem of softening the spots in the way used in this composition could not be solved properly – at least in my limited knowledge of artistic skills. There are artist proud of their sacred and secret skill in producing effect apparently impossibile for others. Then comes the question regarding esthetic value of skill in itself. Some take it essential others consider the effect alone and are not interested at all in know-how of details.
golyho (Feb 23, 2010)
Beside contemporary sculptors, I like others, especially Michelangelo, Bellini, Canova, Rodin and so on. Therefore I am happy to discuss sometimes artwork made by them and others like the Flemish-Italian master with similarly great skill.
Giovanni, da Bologna, Title:Venus, Date: 1573, Movement: Renaissance (Late, Mannerism), Theme: Mythology, Technique: Sculpture.
Backside, buttocks and legs and the presumably details of hands (hidden at this view) are just about fantastic with great artistic value. One can not tell too much in addition to express joy of seeing some of the best artworks ever carved from marble. Still, I try to make an effort. One can figure the size and dimensions of the piece of marble he used. Vertical lines can be imagined from her head to the left knee – and another touching her left elbow and descending along the heavy support. This work follows the rule proposed by Michelangelo that nothing should break easily by accidental rolling the carving down on a hillside.
Rape of the Sabines, Date: 1581-83, Movement: Renaissance (Late, Mannerism), Theme: Mythology, Technique: Sculpture.
I can not resist artwork of that quality. There is another reproduction I know of that carving where small details are magnified and show clearly how fingers of the Roman man right hand push the flesh of the Sabine woman. Here we should enjoy backside of a Roman man with almost perfect musculature, and front side of another man likely a Sabine too. The beautiful breasts of the woman are clearly exposed. It is a great luck that fragile details like hand, fingers and long arm of the woman have survived centuries.
The Rape of the Sabine Women, Date: Not Dated, Movement: Renaissance (Late, Mannerism), Theme: Mythology, Technique: Sculpture.
Both position and fine details differs substantially of that bronze as compared with the above marble version. I prefer the marble version. Since no date is given one can not see which one served as a masterpiece copied near but not quite equally. It is interesting for me, that little details are more elaborate in the marble version in spite of the fact, that metal fits better for detailed works.
Mercury (front view), Date: 1580, Movement: Renaissance (Late, Mannerism), Theme: Mythology, Technique: Sculpture.
Da Bologna master used here perfectly all the advantages of working with metal. Composition like that could not be carved from marble, since the long delicate leg on the also small and delicate bottom support would certainly crack if made from stone. Stone is solid sustain pression but easily break when pushed or hit from the side perpendicular to the long axis, can not resist torsion as much as metal pieces. Plenty of small, delicate, lovely details are also to be appreciated.
Florence triumphant over Pisa, Date: About 1575, Movement: Renaissance (Late, Mannerism), Theme: Allegory, Technique: Sculpture.
I picked this composition of marble to show not only another beautiful woman but also the heavy support formed as a man. This idea solved the problem of avoiding too dangerous weakness on the bottom. On the other hand da Bologna demonstrates his considerable skill for example in carving fingers of Florence. Her posture is a sophisticated version of the classical Greek or Roman contraposto.
golyho (Feb 22, 2010)
Fortunately, more and more sculptors are recently shown in the portal. Classical and romantic figurative carvings are still missing but I prefer only a few of them anyway. What I have and will ignore is Pop Art.
Wilding, Alison, Title:Foreign Body, Date: 1997, Movement: Art Now / Recent, Theme: Abstract, Technique: Sculpture.
Two pieces joined by so called negative forms mean extra problem to be solved. Arrangement on space determines relationships, too close suggests something different from larger distances. Too large distances promote independence, too close one suggests singleness. The distance here seems to be carefully calculated even if the two forms appears identical. The forms are nicely simple which let the beauty of the stones command.
[no title] from Four Etchings, Date: 1994, Movement: Art Now / Recent, Theme: Abstract, Technique: Mixed technique.
This is an example of what a sculptor paints on cartoon or canvas. Instead of colors or facture for example, the forms dominate the composition. Both the simplified forms and the strong suggestion of space – without following the strict rules of linear perspective – support my assumption. The theme appears to be a curious relationship of two near identical folded black cartoon.
Fugue, Date: 1992, Movement: Art Now / Recent, Theme: Abstract, Technique: Sculpture.
Simplicity near to the end. Geometrically correct cilinders have been made before by various artists and therefore not to be repeated over and over again. The sligthly oblique form is interesting especially due to its nice proportions of that sizeable artwork. It is made presumably from cartoon or another material which is easy to fold. Carving that from marble would involve very very hard and precious work.
On the Day, Date: 1986, Movement: Art Now / Recent, Theme: Abstract, Technique: Sculpture.
Here we enjoy beauty of metals. The sculpture seems to be made by assembling three sheets of preformed metal. One of them is „colored” perhaps by heating and rapid cooling technique. It is probably fixed to a surface like a wall because it appears floating. A composition is as nice as petals of some flower.
Pond, Date: 1983, Movement: Art Now / Recent, Theme: Abstract, Technique: Sculpture.
Here we should enjoy how nice some stones can be. Very very simple compositiom made from four piece of stones from which the bottom two are fixed together. Balls have also been used before as such but here it comes in pair with a beautifully carved free form made apparently white from marble. The distance between them is a bit too large for me, but the „bottom dish” keep them belonging together.
golyho (Feb 18, 2010)
Fontana has played a distinct role in art of the last century. His power in innovation is widely recognized. According to my readings he was already a respected artist when his idea of cutting into the canvas came. It is not known if it was an accident first or he cut for the purpose to find a novel kind of original themes.
Fontana, Lucio, Title:Concetto spaziale attesa gialla, Date: 1967, Movement: Art Informel, Theme: Other/Unknown, Technique: Oil on canvas.
Slit itself and the color are the themes of his obviously monochrome paintings. Direction of the slit is near but not exactly vertical with might be boring a bit. There is not much to be told on such kind of minimal art. We just take a rest and let our fantasy floating.
Spatial Concept `Waiting', Date: 1960, Movement: Art Informel, Theme: Abstract, Technique: Other/Unknown.
Another example of single slitting into the canvas. The color is very neutral so much as to allow assuming no painting at all. The technique is quite simple: he has painted (or left empty like in this case) the canvas and cut into by a sharp knife afterward. New edges of the stretched canvas made this way move the canvas out a bit from the plane and let the inner covered darkness behind the canvas to be seen.
Spatial Concept, Expectations, Date: 1959, Movement: Art Informel, Theme: Other/Unknown, Technique: Mixed technique.
In cases when several cuts has been made instead of a single one direction and pattern could be varied considerably. In this case there seems a careful arrangement of increasing the distances and adjusting direction toward vertical as we follow the slits from left to right. I like warmness of dark brown monochrome.
Spatial Concept: Expectations, Date: 1959, Movement: Art Informel, Theme: Other/Unknown, Technique: Oil on canvas.
This painting is special because it would harder to classify as monochrome. It is dark blue mixed with deep green. It seems for me, that he first he made the staining and then the cuts and finally removed (washed back) layers of stain next to the opened parts. He varied length of slits but kept them in the vertical direction. Distances between them appears almost exactly equal.
Venice Was All in Gold, Date: 1961, Movement: Art Informel, Theme: Other/Unknown, Technique: Acrylic.
It seems for me that he painted the canvas first by thick layer of gold-colored stain. Then worked into the thick still wet layer either by a simple tool like a stick – or used simply his own fingertips. Finally he made a single slit positioned carefully in the middle of the canvas. He could avoid boring be single central and vertical slits by richness of the so to say „background”
golyho (Feb 17, 2010)
Let us consider a sculptor now. Hiorns belong to the innovative ones, who devotes less attention to the carving itself but uses techniques borrowed from Conceptual Art. He also made several installations too.
Hiorns, Roger, Title:Collapse, Date: 2004, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Sculpture.
It is a rare technique to design sculpture to be hanged on wall. Ben Nicholson used a technique in framed works painted monochrom white but composed of geometrical elements with various thickness within the single frame. However carvings and bronze statues are usually designed to „walk around” works therefore hanging them on a wall restrict access to the backside. Aside that note these two separate onyx cuts (made simply by a saw and apparently no carving was involved) are very attractive together and represent a delicate balance between organic and other types of sculptures.
Untitled (detail), Date: 2007, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Sculpture.
Once again, this work is related to designs of somebody else. In this case to Calder who made several mobiles hanging from ceiling of room. This note comes from my assumption that this composition hangs from the ceiling. There exist another slim possibility like the vertical line from top downward might be edges of two glasses fitted closely together. The design itself is very complicated and transparent components open further vistas.
Untitled, Date: 2006, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Sculpture.
Here is an even more complicated form designed from steel with apparently aluminium circles. The paired „horns” which branche to both sides from slim bodies direct from downward to upward and suggest careful work on this hard metal. The size appears fairly large. We can not see the other (opposite) side of the composition but it is assumed to be quite simple reduced to the two metallic circles.
Untiteled 2007, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Sculpture.
Unfortunately one can not see in this reproduction whether the form hangs freely with bottom in the air, or stands on the floor. In the latter case the vertical string helps to protect the delicate position of the sculpture. That distinction is important since free hanging allows to consider this form a kind of mobile, provided the two larger components have been fixe firmly together. A third possibility comes from the supposition that the small dark part connecting the two large ones is in fact a ball letting the upper part to move a bit on top of the bottom component fixed to the floor. Combinations of different materials makes it interesting in contrast with the apparently tricky but still simple design.
Untitled, Date: 2007, Movement: Art Now / Recent, Theme: Other/Unknown, Technique: Sculpture.
This appears from me a beautiful sheet of marble. There are some types of stones with that kind of pattern of darker strips. Some strong metal spikes on the opposite surface would allow to hang the heavy stone in front of but not in fact touching the wall. This technique could explain why the sheet appears to float in air. It is a very nice example of two things: one is near „monochrom” sculpture the other is a strong accent on the beauty of stone as material of carvings (left uncarved but polished in this particular case).