The Deserted Locomotive behind the Prison

Schwan

ESPERANÇA

Kevin Driscoll’s ‘A Monument to Contemporary Architecture’ calls attention to the cheap, almost ephemeral material quality of today’s architecture. The sculpture features thin columns that stand as frail descendants of the once strong and ornate stone columns of the past. As a memorial, it diverges from the expected overbearing weight and presence typically associated with such structures, yet it carries a significant presence in its own unique way.

A monument for contemporary architecture

This work is about how memory in time can be entirely different from what actually happened 

As We Met In County Cork

In the serene tranquility of a moonlit night, a canvas unfolds into a dreamscape reminiscent of Chagall's enchanting style. Against the backdrop of a deep indigo sky, sprinkled with twinkling stars like scattered diamonds, a cow, a horse, and two goats emerge as ethereal beings, their forms bathed in the gentle glow of the moon. The horse, with its majestic mane flowing like a river of midnight silk, stands regally at the forefront, its eyes reflecting the mysteries of the night. Beside it, the cow, adorned with patches of midnight blue and hues of chestnut, exudes a sense of quiet contentment, as if lost in its own reverie.

A Cow, A Horse & Two Goats

Lavinia is a sculptural painting comprised of skins made from acrylic binder, urethane, ultralight, and branches built on a foam and wire armature attached to a canvas.

Lavinia

TEMPORARILY PACIFIED reveals hope for the future. through its multiple layering,

TEMPORARILY  PACIFIED

"Maybe you should scream" is artwork from the project "Feel your moving blood".

The artwork was presented at De Bouwput Gallery in Amsterdam, The Netherlands.

Created during AGA Lab Residency. 

  

Maybe you should scream

View IV.

How do we express the humanity of a place? To capture the humanity of the Oculus, I focused on its geometry and drew inspiration from the BAUHAUS movement and Kandinsky's model. My piece uses shapes and colors to evoke emotions and speak to the essence of the place.

Recomposition No. 09

**_'Let It Go'_** is a visual display of self-sabotage. Whether consciously or subconsciously, sometimes we can be our own worst enemy, often hindering our own success.

Let It Go

Even though sometimes these images might give the wrong impression of there existing an abundance of space in this city, of huge skies and clouds that stretch from east to west, whilst on the ground, all the buildings seem to be resigned to their fate, not unlike passengers in a packed metro during rush-hour... this false perception of "natural

space" is nothing more than that, a false perception.

Down there in the asphalt, the windless, car-choked and polluted streets make no sense as motorbikes zoom by in between lanes, kicking any rear view mirror that might happen to be left in their way. Down there, on the sizzling asphalt, there is definitely no sense of an abundance of space.

Go inwards, Breathe. Carry on.

or go mad.

Improvised Character Performance inside XOMIA by Colin Self and Molly Mccommons, directed by Kai (Kari) Altmann aka Hitashya

Flexia XLE (Flexing, Xoming)

"Small Talks By The Border," explores the fluidity of identity and its classification in contemporary intercultural power dynamics. The border—a symbolic space where identities are both constrained and liberated—the installation probes the complexities of nationality and its impact on social categorization, using passports as tangible artifacts of identity. Small talk by the border questions identity and nationality and its role in shaping our understanding of reality. This is the border, a non-space where subjectivities are lost in rigid classification, morphing between conformity and non-conformity.

Small talk by the border

\* _FabricDrawing_ began with my exploration into the diversification of painting space. While fabrics replace paints in my work, they don’t necessarily hold a higher significance than mere material. I use fabrics to express a painting spaceratherthantoreproducethe “actofcreatingsomething” ortoembodyastory.

Through painting, I explored various spatial dimensions and expanded my bounds of expression from planar space to architectural space. Facing the moments that imprint in me, whether special or ordinary, I take those momentary emotions and capture my experience-based interpretation and impression in my work.

Fabric can be manipulated into limitless forms: tightened or loosen, tied or untied through knots, or patterned. Variations in texture, thickness, or elasticity show different personalities and emotions. Colored fabrics can be stretched to become thin to the point they appear translucent. Overlapping fabrics of different colors with stretched and translucent fabric creates a new harmony with a mixture of colors, textures, or both.

What I intend to achieve here is to reveal the relationships between what is already visible to the eyes and what has yet tobeseen.Toexplainsuchanabstractideawithmyownwords,Iwouldsay, “Nevertheless,intheend,thereexists us, forming relationships in a harmony.”

Layers of fabric are more powerful than a single layer of fabric. Similarly, rather than existing on their own, colors stand in a balance of or contrast with other colors to have a meaning. Fabrics that have been spread, stretched, hung, and overlapped to create a new screen, build stronger and sturdier layers that provide a foundation and impetus for each other, just like in our life.

\*I named my work as _FabricDrawing_.

In its literal sense, it is a painting technique that uses fabric as a tool. Painting, in a general sense, is defined by lines. In modern painting, however, the definition of such genres has blurred and become meaningless. In my work, a fabric replaces a brush and leaves lines behind on a canvas. Using fabric as a means to create lines, my work embodies planes and space. In the same sense as diversifying the painting space, I believe fabric drawing is also a spatial painting in a broader scope.

Fabric Drawing #144(The right to walk)

«Голубь мира» The Forgotten Artifact

**vision art:** 

Capturing the cold, and hustle in NYC.
  
  
Framed and Available

In a Hurry NYC

_(Un)premeditated Inheritance_ is an installation consisting of one hundred and eight 20mm anti-aircraft bullet shells filled with my hair and trinitite, a radioactive glass formed from the heat of the first Atomic bomb testing in New Mexico. I am fascinated by the idea that my very existence is rooted in two significant historical moments: the birth of the atomic bomb in New Mexico and the bombing of Hiroshima.

  
The first ever Atomic bomb exploded into the world in the deserts of Alamogordo, NM in 1945\. Two weeks later, the first weaponized Atomic bomb was dropped in Hiroshima by the Enola Gay B-29 bomber. At the time, my grandfather was 15 years old and compelled like many others to work at an ammunition factory to produce anti-aircraft bullets. It is there he experienced the blast from the bomb. He survived the explosion but later learned that most of his family did not.

  
The contents of these WWII era practice rounds, my hair and the trinitite, are grounded to the point that they resemble gunpowder; perhaps a newer form of ammunition to be used for either protection or attack. Both trinite and myself are accidental byproducts of war, as are so many others. This new fusion marks a more complete and fuller story of my origin that started long before my own birth. The two opposing moments in history come together and are still present within my body and experiences today; neither one exists with the other.

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