3rd Wave of Inspiration
Since 2003
Visual artists from Mexico - Alfredo Chamal uses simple ball-point pen to create his photo realistic artworks. This medium is nothing new and used by prominent contemporary artists like Jan Fabre or famous illustrator Juan Casas . As for Alfredo it's a new way to reveal psychorealistic art that's rolling on in Mexico right now
Artist Stacy Lovejoy’s newest sculpture series “Super Power Tools” combines vibrant colours and simple shapes, inspiring viewers to harness the carefree and adventurous spirit of childhood. Stacy channels her inner child and love for whimsy to communicate childlike abandon and lust for life through installations, paintings, sculpture and performance art. Her ability to convey the essence of youth through multiple mediums seems driven by her connection to honesty and spontaneity: an artistic expression of the desire to remain forever young.
From her studio in Portland, OR, Stacy creates a variety of art which aligns well with the neo-pop, futurism and contemporary faux naïf genres. Her history includes drawing from a very young age, and continuously seeking new ways in which to artistically express her joy and concurrently inspire others to lie authentically through reigniting the glittering excitement and insatiable curiosity inherent in young children.
“Creating art takes me back to my childhood - that time when you admire water drops which sparkle in a sunny ray; seek funny characters in a rug; giggle over your puddle reflection and smile when a gentle wind tickles your cheeks. A time when you are happy-go-lucky, sensitive, almighty, and sometimes naive, but always genuine. I am an eternal child and art allows me to maintain this state of being”
Through this mindset, Stacy aims to inspire others to create their own reality and utilise their freedom of choice to foster artistic and intellectual curiosity with a penchant for experimentation and adventure.
“Super Power Tools” is composed of 17 pieces fashioned primarily from acrylic on plywood, which exhibit a multitude of influences: mother nature makes a strong appearance, with a repeating theme of foliage and flower petals in variegating color schemes, plumage of winged creatures, and mystical patterns reflecting majestic creatures; conversely, the installations reference to tools shines through in pieces like Programming Book of a Goal Achievement and Fan Spreader of Spontaneity, which tout markings and shapes that call to mind protractors, measuring tapes, and grandfather clocks. This dichotomy of nature and spontaneity, melded with structured implements from the man-made world, seems to explore Stacy’s desire to cultivate a return to the childlike state for those who view her art, urging them to let go of stifling stress and seriousness and breathe in “Super Power Tools” to unleash the silliness and wonderment of youth.
New York artist James Clar exploring the aesthetic behind artificial lights system and creating indoor installations exploring the ways shadows cast in front of us are generated by the systems we create.
It’s been almost four centuries since the world lost the talent of one its most influential classical painters, Rembrandt van Rijn. That's clear world will never see another new piece from him even there were numerous hoax and fakes done during the last century. But what happens when tech minds step in the game? Having Microsoft and ING at their back, researchers, curators and developers from Museum Het Rembrandthuis, TU Delft and Mauritshuis created an AI that has generated a "new" Rembrandt painting by gathering and using data from all of his art legacy.
Visit the website to understand the project
"Australian photographer Murray Fredericks’ long relationship with Lake Eyre, where his most recent series Vanity has been produced, commenced in 2003, and to date consists of twenty journeys to the centre of the lake where he photographs for weeks at a time in the vast and infinite landscape. Fredericks is not interested in documenting the literal forms of the landscape. He views the landscape as medium in itself which, when represented in a photograph, has the potential to convey the emotional quality of his experience and relationship to the lake."
“The mirror can be seen as emblematic of our obsession with ourselves, individually, and collectively. In the ‘Vanity’ series, rather than reflecting our own ‘surface’ image, the mirror is positioned to draw our gaze out and away from ourselves, into the environment, driving us towards an emotional engagement with light, colour and space”
Murray Fredericks's Salt: Vanity is on view at Hamiltons through June 14, 2017.
Robin Antar known for her hyper realistic recreation of American legacy - fast food in stones. Her quality of the work lead to the official letter from U.S Gov saying she cannot copyright her work because it to closely resembles famous products.
In this new series of paintings, Miami-based artist Jason Seife deftly renders the intricate patterns of old Persian carpets with a mixture of acrylic and ink. While the paintings utilize familiar motifs in rug design like leaves and geometric shapes, Seife introduces colors not normally associated with the heavy textiles, creating his own interpretations that reflect his mood or thoughts while executing the painting.
"John C. Kacere was an American artist. Originally an abstract expressionist, Kacere adopted a photorealist style in 1963. Nearly all of his photorealist paintings depict the midsection of the female body. The kitsch paintings make for pleasurable viewing, not least for the sexually-charged subject matter. John’s incredibly tuned hyperreal style lends itself to the flawless skin of the idealised Caucasian bodies he paints as well as it does to the slippery silk and satin folds of lingerie and bedsheets. As the curve of each woman’s hips builds a terrain across each canvas, the scantily-clad female form becomes a landscape of sexual possibility."
"50 years on, John’s work feels more contemporary than ever: were the paintings the photos they imitate, it’s easy to picture them riding high on fourth-wave feminism Tumblr and Instagram feeds."
Mass is a site specific installation project by Carson Davis Brown about creating visual disruptions in places of mass (to date: big-box stores, super-centers, etcetera.). At an intersection between Street Art and Land Art, installations are made without permission, using found materials within the retail landscape.
The works are made, photographed, then left to be experienced by passersby and ultimately dissembled by location staff. Photo documentation of Mass works are initially exhibited in a consumer landscape. Printed, framed (in unsold frames) and exhibited in-stores; all without permission.
Iceland-based artist James Merry (previously) uses sportswear logos as the basis to his embroidered designs, planting thread-based mushrooms, strawberries, and various flowers on top of Nike swooshes and the ADIDAS logo’s three bars.
French artist David Mesguich has been pushing the boundaries between street art and fine art by creating monumental geometric sculptures that he puts within urban settings. For his most recent project, the artist created a ten meters high sculpture called ‘Lucie’ representing a little girl drawing a sun in the sky that has been installed in Poznan, Poland.
"Electronic music composer, producer, drummer and photographer Neil Kryszak believes that all art forms can communicate beautiful aesthetic values, as long as they are visually or audibly pleasing."
"After moving to Los Angeles, he began focusing on photography, inspired by the new surroundings and lifestyle. His pictures are characterized by surreal and exotic aesthetics, showing reflections of multicolored lights saturating the streets, architecture and the distant scenery, all fading into black. Led by intuition and trust, the instantaneous creative release and the ability to provoke through a frozen moment attracted Neil to photography. Especially the night time is very meditative to the artist. When it’s calm, there is a lot to imagine and to work with creatively, intrigued by adventure and mystery. Characterized by experimental and psychedelic art styles, the pictures also feature a 70s, 80s and 90s nostalgia.", text by Sarah Press
For over half a century, the American artist James Turrell has worked directly with light and space to create artworks that engage viewers with the limits and wonder of human perception. Turrell, an avid pilot who has logged over twelve thousand hours flying, considers the sky as his studio, material and canvas. New Yorker critic Calvin Tompkins writes, “His work is not about light, or a record of light; it is light — the physical presence of light made manifest in sensory form.”
“My work is more about your seeing than it is about my seeing, although it is a product of my seeing. I’m also interested in the sense of presence of space; that is space where you feel a presence, almost an entity — that physical feeling and power that space can give.”
Roden Crater, located in the Painted Desert region of Northern Arizona, is an unprecedented large-scale artwork created within a volcanic cinder cone by light and space artist James Turrell. Representing the culmination of the artist’s lifelong research in the field of human visual and psychological perception, Roden Crater is a controlled environment for the experiencing and contemplation of light.
“When I first met Fram Kitagawa, he asked me to make a “meditation house” for the Echigo-Tsumari region. He gave me a book written by Junichiro Tanizaki “In Praise of Shadows.” The condition he gave me was that the house must be raised over 2.7m above the ground because of snow covering in winter. After reading “In Praise of Shadows”, I decided to create a house in the traditional architectural manner of this region. I wished to realize the “ world of shadows we are losing,” as Tanizaki wrote, as a space where one can experience living in light, by relating light inside to light outside.”
Read a review of House of Light on Elizabeth Mueller blog, photograph by Yulia Skogoreva
Turrell creates a similar experience of “Ganzfeld”: a German word to describe the phenomenon of the total loss of depth perception as in the experience of a white-out.
Elise is an artist engaged with the shape and form of objects in space. Her sculptures are a giddying mix of surface, mass and volume, situated precariously on the verge of physical impossibility. Pushing materials to the edge of realism, she interrogates notions of materiality, duration and process. Her sculptural language borrows from the industrial and the vernacular. Simultaneously tangible and metaphysical, the compositions project across space, unfurling anthropomorphically upwards, or pushing outwards in repeated gestures of automated reproduction.
The 14th Factory is a monumental, multiple-media, socially engaged art and documentary experience conceived by the Hong Kong-based British artist Simon Birch. Taking over three acres of an empty industrial warehouse and lot on the outskirts of downtown Los Angeles, the location has been transformed into a factory where Birch and his 20 creative collaborators work and manufacture their art, creating an ever-changing immersive environment of 14 interlinked spaces comprised of video, installation, sculpture, paintings and performance.
Presented by Hong-Kong based British artist Simon Birch, the installation features an exact replica of a room from the legendary Stanley Kubrick film 2001: A Space Odyssey, a room where 300 pitchforks are hanging from the ceiling above the guests, a room with pieces of a Ferrari that the team crashed and filmed themselves, and a bunch of incredible video installations.
In entering The 14th Factory, the visitor is transformed into a central player in a collaboratively fabricated adventure that engages and unfolds, uniting individuals to the creative process and to each other. The exhibition challenges the current political climate by celebrating creative diversity and unity and to overcome obstacles and challenges as a global society.
British‐born, working class, of Armenian ancestry, Simon Birch dropped out of school early on and worked a variety of jobs, from rave party organizer and rock climbing entrepreneur in Britain and Australia, to construction worker, bouncer and DJ to support his emerging painting habit in Hong Kong. Through these years, he met and worked with a range of artists, filmmakers, designers, musicians, skaters, entrepreneurs, and adventurers, forming a wide‐reaching but close‐knit group of friends and collaborators across cultures and disciplines around the world. The 14th Factory emerged from these connections.
Over the last few years, Birch has ventured into film and installation work culminating in some particularly notable large‐scale projects: Azhanti High Lightning (2007, Nanyang Academy of Fine Arts, Singapore), This Brutal House (April 2008, 10 Chancery Lane Gallery and Annex, Chai Wan) and the 20,000sq ft multimedia installation ‘HOPE & GLORY: A Conceptual Circus’ (April 2010, ArtisTree, TaiKoo Place, Hong Kong). These large multimedia projects included film, paintings, installation, sculpture, and performance housed in specifically configured spaces. Birch’s work has been featured and reviewed in many international publications, including Artforum, The Guardian, The International Herald Tribune, Time Out and the New York Times.
The 14th Factory Foundation is an independent, 501(c)(3) non‐profit global artist collective whose mission is to create large‐scale contemporary art experiences that act as vehicles for social impact.
“I got an idea to publish an extraordinary photobook. A photobook where the content is in accord with its design. A poetic photo series about relationships, which is moulded into a unique book and a special edition, where the book is set in a thin concrete slipcase. ”
Take a look at the gallery above and then head over to IndieGoGo to learn more about the concrete photobook. Only 50 units will be made available for supporters.
Gabor Kasza Photography from the book
Toronto-based painter Charles Bierk creates hyper realistic portraits of modern youth and explore the visual sense of gestures
Jaime Pitarch creates sculptures, drawings, videos and installations often using humble everyday objects such as a guitar, chair, or household and consumer products. He employs inventive strategies of displacement, re-contextualization and visual punning to peel away at their routine uses and meanings to alter our relationship with such utilitarian items.
Pitarch describes his work as mainly having “… to do with the human being’s inability to identify with the structures he himself has created.” Having been stripped of their functionality, we are free to view them in the alternative narratives the artist provides.
"In 2008 the wreck of a treasure ship called the Apistos (meaning “the Unbelievable”) was found on the seabed off east Africa. It sank about 2,000 years ago. Its unique cargo of global artefacts, assembled by a freed slave called Cif Amotan II, have spent two millennia undergoing a “sea change” straight out of Shakespeare’s Tempest, becoming wrapped in coloured corals and bizarre crustacean growths - until the archaeologists who found this sunken marvel asked Hirst to use his millions to help recover it."
"If you believe that, you’ll believe anything. The curators who told this bit of hokum straightfaced at the start of the press view deserve bonuses, if Hirst has not yet bankrupted himself creating this luxury masterpiece. " The Guardian
Photographed by Christoph Gerigk
© Damien Hirst and Science Ltd.
Sphinx by Damien Hirst. Photograph: Miguel Medina/AFP/Getty Images
Photographed by Prudence Cuming Associates © Damien Hirst and Science Ltd. All rights reserved, DACS/SIAE 2017.
‘Treasures from the Wreck of the Unbelievable’, April 9-December 3, Palazzo Grassi and the Punta della Dogana, Venice; palazzograssi.it
Photographed by Christoph Gerigk
© Damien Hirst and Science Ltd.
Skull of a Cyclops and Skull of a Cyclops Examined by a Diver. Photograph: Prudence Cuming Associates © Damien Hirst and Science Ltd.
Sarah Sitkin is a Los Angeles based contemporary artist delivering hyper realistic and somewhat provocative art. Her sculptural works are made in wide variety of media including but not limited to silicone, clay, plaster, resin, and latex.
