Rina Rosselli (Italian, 1903-1998), Baboon with cherries. Oil on cardboard, 43 x 34 cm.
ten times … with umbrella …6
陈江洪 Chen Jiang Hong
Chen uses calligraphic techniques and paints on the floor with long wolf-hair brushes. Each brush stroke is a definite, irreversible moment that cannot be changed. The compositions are made up of strong black brush strokes balanced by smoky volutes and tactile sawdust. The subjects are often oversized and blurred, as if Chen has captured a fleeting moment in time. The large-scale ‘close-ups’ have an immediate impact on the viewer, emphasising the materiality of his painting.
Chen’s work translates the vitality of nature with a rare elegance and an extraordinary energy. It would appear to embody the philosophy of Oriental sumi-e – where the aim is not to reprod
Sophie Kahn Sculptures
Sophie Kahn’s work addresses the resonances of death in the still image. It owes its fragmented aesthetic to the interaction of new and old media, and the collision of the body with imaging technology.
I combine cutting-edge means of reproduction, like 3d laser scanning and 3d printing, with ancient bronze casting techniques. Using damaged 3d data, I create sculptures and video works that resemble de-constructed monuments or memorials.
The precise 3d scanning technology I use was never designed to capture the body, which is always in motion. When confronted with a moving body, it receives conflicting spatial coordinates, generating a 3d ‘motion blur’. From these scans, I create videos or life-sized 3d printed mold sculptures. The resulting sculptures bear the artifacts of all the digital processes they have been though. The scanning and 3d printing process strips color and movement from the body, leaving behind only traces of its form – a scan of the face resembles nothing more than a digital death mask.
tityus by jusepe de ribera
At the General Store in Vrengen ~ Edvard Munch
Phengaris arion by georg_essl
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