Henrique Oliveira
Source: Yatzer (check out this website!)
Tapumes - Casa dos Leões | Henrique Oliveira, 2009
VII Bienal do Mercosul, Porto Alegre
plywood and PVC
photo © Eduardo Ortega
In the world of contemporary art, when you ask an artist about the messages that he/she is trying to convey, you are most likely to receive a pompous answer/just another boring cliché. This was not the case with Henrique Oliveira, the Brazilian emerging artist known for his spatial wooden pieces whose irregular forms devour large spaces which give you the sense that you are actually inhabiting someone’s body. His answer had no unnecessary use of any conceptual lingo. ”I believe that the message is never art itself, but instead, the lack of a message is a characteristic that makes some creations interesting to me,” he says, adding ”my works may propose a spatial experience, an aesthetic feeling, a language development and many more nominations to refer to the relation it establishes with the viewer. But, any attempt to find a message would fail.”
Analyzing his identity and experiences that form his practice, Henrique Oliveira refers to plywood, a material that largely dictates his sculptural work. In São Paulo, there are a lot of constructions currently taking place and the most common material that is used to isolate the construction site from the street, is plywood. In 2003, when he was still an art student he researched painting surfaces and various surfaces as paintings. It was a time when plywood became a reference. ”What first caught my attention on this kind of deteriorated plywood was its pictorial aspect,” he says. “The textures, the colors and the different tones that were organized in layers, reminded me of a painting surface,” he adds.
Tapumes | Henrique Oliveira, 2008
Galerie Vallois, Paris
plywood and PVC
3,2 x 6,2 x 0,9 m
photo © Henrique Oliveira
Oliveira’s sculptures extend over large spaces that almost command a whole room. They demand space, a lot of space. I naturally wanted to know if scale does matter in his practice and if as an artist, he is attracted to the idea of going large. ”The materials I use are made for construction use and thus in a way I have to go large.”
(detail) Tapumes | Henrique Oliveira, 2005
Casa da Cultura da América Latina, Brasília
Whether organic or pictorial, Henrique Oliveira knows that his works transmit a sense of temporality. His aged wooden pieces ”show the transformation of matter,” he explains. However, ”there is also a temporality that is more about the present. There is a sense of movement”. This temporality is both deliberate and dictates the form of the work. In his very round wooden installations he explores the elasticity of PVC tubes playing with the idea of swollen walls. Through these pieces, he gives a sense of movement whilst creating dramatic surfaces that capture viewers.
The Origin of the Tird World | (external view) | Henrique Oliveira, 2010
29ª Bienal de São Paulo
plywood, PVC and metal
4,9 x 45 x 5 m
photo © Henrique Oliveira
The Origin of the Third World | (internal view) | Henrique Oliveira, 2010
29ª Bienal de São Paulo
plywood, PVC and metal
4,9 x 45 x 5 m
photo © Henrique Oliveira
The Shadow by Rook Floro.
Cloud sculptures
Berndnaut Smilde (Amsterdam) has created clouds sculptures in his exhibitions. Yes, clouds sculptures! He combines smoke, moisture, and dramatic lighting. Absolutely stunning!
If you want to check more of his work, click here.
Source: the obssesive imagist.
Von.
Flaming Cactus
This installation entitled Flaming Cactus is comprised of thousands upon thousands of interconnected zip ties wrapped around various light poles in a small one block radius. It was created by the Animus Art Collective as part of the Summer Streets Festival.
Source: The Obssessive Imagist
More info here.
TEXTILE FIELD
The Textile Field by Ronan and Erwan Bouroullec in collaboration with Kvadrat, is an installation in the Victoria & Albert Museum intended to provide a space to “lounge” while contemplating the surrounding Raphael Cartoons Gallery in a more relaxed setting. The textile installation is 30 meters long and 8 meters wide, which takes up over 240sqm of the floor of the famous gallery floor.
Source: Design Milk.
The Encounter: ‘Lively Architecture Festival’ in Montpelier
With a mission to promote and celebrate Architecture and with a greater hope to make it accessible to a wider public, the ”Lively Architecture Festival” came back with force for the sixth consecutive year in the city of Montpelier in the South of France. Being a must see event in the summer calendar FAV festival (Festival des Architectures Vives) transformed Montpelier during the course of five days into a creative hub with 11 Architectural teams responding to this year theme: “The Encounter”
This installation, “Will” by Univseritie D’AALTO was a textile sculpture in the middle of a courtyard. (via Yatzer)
(Source: freundevonfreunden)
Big Yellow Rabbit
Stor Gul Kanin
Örebro (SE) 2011
13 x 16 x 16 meters
Concrete, metal, wood and takspån.
The Big Yellow Rabbit is a temporary 13 meter high sculpture. It’s a enlarged cuddle toy made out of swedish products thrown against the statue of Engelbrekt.
Ryoji Ikeda: The Transfinite
Ikeda creates a visual and sonic environment where visitors are submerged in an extreme illustration of projected and synchronized data. His work uses scale, light, shade, volume, shadow, electronic sounds, and rhythm to flood the senses. In choreographing vast amounts of digital information, Ikeda conjures up a transformative environment in which visitors confront data on a scale that defies comprehension, experiencing the infinite.
Fred Eerdekens
Came across this post in Design Milk. Never seen something like it.
Fred Eerdekens plays with light and shadow using a variety of materials — from plants to wire to cereal boxes — to spell out words. What looks like a simple arrangement of objects takes on a whole new meaning once light hits it in just the right spot.
A Gust of Wind (Una Ráfaga de Viento) por Pauls Cocksedge.
It is an installation of 300 sheets of corian engraved with the words “Idea Tray” and a series number and suspended like sheets of falling paper at the Victoria & Albert Museum for the London Design Festival and given away at the end of the day.
