Great Great Grandma

Pensando delves deeply into the visceral emotion of frustration. In vividly depicting a woman at her breaking point, the viewer sees her on the verge of pulling at her hair. The image powerfully underscores the significance of a woman's hair—her crown—whether it cascades in waves, defies gravity, or is absent. It's a poignant exploration of women's pressures and the sacrifice of the very symbol of their regal essence in intense distress.

Pensando (from the Black Ballet series)

Sa joue contre la mienne, c’est l’été

The artist questions the current state of architectural longevity with a lopsided concrete building block that emphasizes its public facing side.

Frontend Development

This project delves into the intricate implications of digital design techniques on architectural facades and their intricate details. We aim to elevate the aesthetics of these facades through a comprehensive design research process, harnessing the power of cutting-edge technologies such as machine learning and artificial intelligence. By integrating these advanced tools, we aspire to not only refine the facade's visual appeal but also explore innovative fabrication methods.

CONTEMOIRAY FACADE AESTGETICS

Red light

The Crying Place

This is part of a long series of images for a series called "Sittings" where I gage chairs a character and they were voicing an opinion. Here the Chair over stepped the mark was was put in the cellar as a punishment. With time to think about what could have gone wrong, and what could be avoided in the future!

  
(picture available via Plainpicture Image Library!) 

Sentenced

“And this I dreamt, and this I dream, and some time this I will dream again…”

Quoting Arseny Tarkovsky 

хмари і кабель

Lost and Found #1

SUHA is a six-storey building located on Kensington High Street, it will be a building integrating gallery, art shop and cafe. This film is about the cafe and bar concept.

SUHA

An ethereal corset featuring an elegant pair of stylised swans, extensively hand embroidered and quilted

Twisted swans corset

With GROUNDED, the artist presents an immersive and architectural installation that extends across the entire gallery space. In the entrance area, the wingless skeleton of a model DA42-VI aircraft is installed nose-down, suspended diagonally from the ceiling. Titled END-OF-LIFE cycle one, the piece points to the descent of the downstairs gallery space. A sprawling floor installation, END-OF-LIFE cycle two, that is composed of recycled carbon fiber and paraffin wax covers the exhibition floor; it is a fragmentary to-scale visual transfer of the decommissioned runway at Tempelhof airport, Berlin. A series of small-to-large-format paintings made of the same materials, detailing industrial design and aircraft life cycles, hang on the wall, some placed proportionally to resemble airplane windows and others matching the scale of mechanical objects within the space. These themes are reflected in the sculpture titled END-OF-LIFE cycle four, which consists of a wax landing gear and three aircraft tires from an Airbus A300 and a fourth tire in the form of an ephemeral paraffin sculpture that is slowly melting away throughout the course of the exhibition.

“Daniel Hölzl’s solo exhibition, is permeated with carbon and wax, crucial substances in the structure and operations of human technol- ogies such as aviation...These materials find their way into Hölzl’s works through a series of wax paintings on carbon fiber, ready-made components, and sculptural parts, all of which are in some way extracted from the aviation industry and connected to notions of being grounded. GROUNDED is not just the presentation of a series of works by an artist, but the creation of a unified yet complex world made up of substances, materials, and forms that reflect the conceptual, historical, and social concerns guiding the artist’s research and practice. By reconstituting the entire gallery as an “aviatorial space,” Hölzl establishes a setting for probing reflections on the connections between nature, science, and industrialization through the overlapping history of aviation technologies and the recently renewed European legacy of war and conflict, highlighting the integral role of petroleum.

While possessing abstract qualities associated with formalism, GROUNDED points to aviation’s dangers and limitations, rendering its exist- ing characteristics like petroleum dependency and utilization in permanent wars around the world as already outmoded, grotesque, and nostalgic.

While possessing abstract qualities associated with formalism, GROUNDED points to aviation’s dangers and limitations, rendering its exist- ing characteristics like petroleum dependency and utilization in permanent wars around the world as already outmoded, grotesque, and nostalgic.

We must ask ourselves: What kinds of materials, forms, and sources of energy can significantly enhance our aviatorial abilities while having the least impact on the environment? Can we essentially transition from capitalism to a post-oil economy? What roles can innovation and automation play in these transitions? And what will be grounded in the future?” - Mohammad Salemy

GROUNDED

My primary interest is the potentiality of objects— and the physical or psychological state changes that take place inside and around us at any given moment.
​
My recent work focuses on a challenge to create figurative paintings which defy a conventional representation of the body and present an alternative that is much more about our conscious and unconscious experience of being in the world.

This embodiment references the relationship between our own physicality and our cerebral, societal and imaginative life, foregrounding altered states such as dreaming. It’s very important to me to contrast this intangible scenario with our inevitable, visceral experience of the world.

My compositions focus on the human form, often unrecognizable as if affected by the skewed and invisible forces of contemporary physics, revealing the lack of certainty in what we perceive as conventionally reliable spaces and interrelations of objects.

The body-subject is therefore present in my works in parallel with a quest to see the space of nothing.
​

Code Red Series No.02

縁側: When The Two Tailed Cat Crosses Your Path

Reverberation Series No.04

Greed

2018 / Interactive Kinetic Installation 

Spherical structure with 35 umbrellas, 300 cm diameter 

  
SURFACE X is a kinetic installation which reacts to the presence of visitors. 

It‘s a spherical structure with 35 umbrellas. Initially, all umbrellas are opened and create a huge black formation, that surpasses the human being by far. But as soon as a visitor approaches the installation, the umbrellas shy away in a fraction of a second and close themselves. When SURFACE X is pressed by several people, all umbrellas close so that only the skeleton remains standing. It takes a while until all umbrellas open up again. 

  
Exhibited at: 

• the Ars Electronica Festival 2018 in Linz (AT) 

• the Castle in Dachau (DE) in 2018 

  
https://picaroon.eu/surface-x.php

SURFACE X

FEMME AU CHAPEAU ROSE À LA DÉRIVE (WOMAN WITH PINK HAT DRIFTING) is part of the DRIFTS DRIFTING PHASE II installation project which is currently on progress. The installation proposes a questioning of human and artistic drift, a theme that Anne-Marie Giroux has been exploring since 2014\. Taking a critical and mocking approach on the relevance of the very essence of the art object, the artist also questions the relevance of being an artist and most specifically, the relevance of being a woman artist. Composed of three-dimensional works developed with traditional mediums and recycled materials, the installation will be presented as a still life, fragmented with multiple « self-portraits » of the artist and her art, adrift. The project will be presented publicly for the first time at Espace PRODUIT RIEN in April 2023 in Montréal (Québec) Canada.

Photo: Anne-Marie Giroux

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