Topography #1

I started out with the experiments with white-out, they formed firm and thick pieces amid almost immaterial swirls of colours. The white-out reminded me of cement, which was crumbling and constantly reconstructed through its mixing with the oil paint. 

It reminded me of cities throughout history, crumbling beneath time or war. Dust from debris floats in the air. But what made these constructs of humanity, and its inhabitants disappear or resist? How can we process information about a war-torn place when even the information-flow is disrupted and manipulated? Where does the myth and reality begin?

The work and information is rendered almost unrecognizable and abstract, but yet retain some breaks where the reality breaks through the aestheticization. 

Eppela - The Missing Piece

portrait

I aim to visually intersect various themes in my artistic practice: natural environments, mental spaces, memory archives, and the human body. Through “Paradise Island” I invite viewers to consider their own unique relationships within these themes.

A particular example of this would be the placement made between the artwork entitled “Ephemeral Tendencies” and the installation “Decisive Traces”. If you look at “Decisive Traces” straight on, the artwork “Ephemeral Tendencies” fits within the centre point on the fabric. I wanted this placement to open up the potential of discovery for viewers, encouraging them to seek relationships between artworks with imagination and movement throughout the exhibition. This parallels the exciting potential in humanity’s drive to discover subjective narratives.

The artworks suggest a space somewhere between psychological and physical, a membrane between the physical world and the imaginative (imagine, if you will, an isolated "Paradise Island"). I hope that the artworks in this exhibition encourage us to reflect on the spaces where memories and extensions of ourselves reside.

Artworks Included:

"Decisive Traces" (installation), "Paradise Island" (bubble figure in dark blue light), "Pandemania" (bubble figure in purple-ish light), "Ephemeral Tendencies" (naked figure with enshrouded head), "Now is the Hour" (two bubble figures). 

Paradise Island 

The Masks of the Gods (Die Masken der Götter)

In a globalised world where history, myths and legends find their way across cultures, the mummery and its narrative no longer belongs to a particular national heritage. Narrations change depending on the narrator and a visual world is also redefined and expanded. When the past is reinterpreted in pop culture, it no longer has much to do with its origins, but sets its accents and forms a new fictional narrative. Image worlds are no longer bound by national borders, but become common property, a gigantic open source database that everyone can freely use.The narrator shifts the meaning of the respective details and thus forms new attributions. This phenomenon is not new, but has only expanded through fast and mass communication. In ancient times, people developed new hybrid beings by combining different narratives.The interpretation of the same mythical creatures can vary greatly in different cultural circles and fluctuates between positive and negative attribution.Today, this phenomenon can be discovered in all creative industries, especially in character design for video games, literature, cartoons or the film industry.

In my latest series I try to intensify this process by creating my own myths using  digital image collages, creating new Wolpertinger. I work with photographic archive material from various countries to intensify the mixing of cultures. An interplay of the most diverse meanings, bundled in one figure, which is robbed of its original meaning and repeatedly encoded anew. Like Frankenstein's monster, I assemble each figure piece by piece until a mannequin is created, which I dress and equip like an avatar. In this series, East meets West, old meets modern, reality meets fiction, creating a new narrative.


Die Masken der Götter

Mistake

synthetic velvet is an online, creative magazine which explores the concept of time. Each issue takes the form of a website and is themed around one specific hour. 

The project is made using a multidisciplinary and collaborative approach: a different group of contributors from diverse disciplines and creative backgrounds produce works for each issue. 

synthetic velvet is a digital love letter to time – it focuses on the hour system to tell universal stories, encourage larger conversations, and push the boundaries of digital storytelling.

Since launching, the websites have been exhibited internationally in art & design exhibitions (Vorspiel organized by CTM/Transmediale in Berlin and  the Vancouver Art Book Fair in Canada).

Issue II - 3:10 PM: https://www.syntheticvelvet-threeten.com/
Issue I - 5:40 AM: https://www.syntheticvelvet-fiveforty.com/

The third issue, themed around "the Golden Hour ", is currently in making and will launch in Fall 2020 with a launch party in Berlin!

SYNTHETIC VELVET, A DIGITAL LOVE LETTER TO TIME 

A collaboration between Gintare Simutyte, Joschi Braun and Gabrielle Vitollo.

Fabric, acrylic paint, monitor, JavaScript video, steel wires, decaying leaves.





 Artificially Flavored Leaf 

Watercolor on wasli sheet
Dimension 14x18 inches 

Standing figures 1

45 x 40 x 40 cm Murano Glass 2019
In this Murano glass sculpture I am commenting on the risks 
of immigration. Crossing the open sea in rafts and boats
leads to tragic results. A child’s shoe that may be from a victim 
of a crossing. How in another reality he would simply be
playing with a beach ball, having fun.

LOST MOMENT

Vinnie Ray_Cave & Echoes: The Sound is WOW 

Cave & Echoes is a creation myth story about how the Universal Consciousness achieves enlightenment, thus becoming a singularity - which starts the beginning of the Universe again. The story unfolds as small caves open up in the fabric of space-time, one by one.  This is seen on street corners, backyards, in homes.  The caves emit an echoing sound - WOW.  More caves continue to open all over the world and throughout the universe.  Researchers begin to study the caves and echoes and find that inside the caves is pure consciousness.  Each echo is a unit of consciousness.  People start to jump into the caves to become pure consciousness, to feel the WOW.  Gradually the caves grow in size and numbers until they all join and merge into one single cave of pure consciousness.  Shortly after pure consciousness is achieved, all the echoes merge into a single consciousness. It is at this moment that the universe reaches enlightenment.  The videos, wall art, and drawings are artifacts generated from this story.

This story was told in video episodes with Instagram posts (#caveandechoesofficial).  I’ve created a playlist on Youtube to view the story in sequence.  
https://www.youtube.com/playlist?list=PLEVVGV5WwC0_9h_OJL8g0zNY55gSwcvGW


Cave & Echoes: The Sound is WOW

Ephemeral, adj, (Greek ephé̄mer(os) short-lived, lasting but a day) : lasting a very short time
In the minds of the photographer Jean-Michel Fauquet, the first process calls on sculpture before to create photographs. The subject is made of poor materials. Air dried, the potteries are likely to break. Trace of existing documents, the photographs suggest the memory. The object on the image seems to disappear and fade as a revelation about fragility of the elements. The attempt to push the abstraction at its maximum give to the reader a notion of disappearance. Italian painter of the 20th century, Giorgio Morandi is famous for the simplification concerning the forms. While still life painting is a synonym of details, Morandi realise a degree of abstraction of the painted object. My images are inspired from this initiative.
Tracing paper place on the top of printing accentuate the effect of disappearance and fragility. Such the work of Daisuke Yokota, my creation is in permanent research, constant resurgence. In this way, Ephemeral present some images realised by wet-collodion process. According to the orientation of the glass and the background, the photo reveal more or less details.

Ephemeral

Precarious lives uses a pelvic bone to bridge the artists's past medical experiences in Thailand at a refugee camp and Patpong the red light district in Bangkok. The pelvis is penetrated in sex but also reveals itself in death.
  
There is a conflict between the pleasurable objectification that can occur in loving sex and the repugnant brutality of sexual abuse and exploitation, the difference is agency. 
     
The refugee camp also drew attention to objectification and agency. Genocide, murder is the ultimate objectification of people. In death we are reduced to flesh and bone - a carcass. In time all that is left the only visible memory of what was once a thinking loving person is bone. 
 
In Precarious Lives objects are petrified to resemble bone. Making these objects into remains objectifies them in the same way that we are objectified in death. One could argue that guns, grenades, and sex toys are already objects but by rendering into bone it creates a level playing field of traces, memory and loss.It is arranged as an ironic mandala


Precarious Lives.

Documentary method and staging are used to create a series of images that are revolving around the polysemy of a bathtub. At one hand, a bathtub is a private, warm place where one takes a breath after a chaotic day, while resting, protected from the ‘outer’ world. At the other hand, it is a place where one can deny breath, being violently drown, or committing a suicide.The Breath presents a double life, a Schrodinger situation of being and not being somewhere at the same time, of being at the upmost state of relaxation and of freezing fear. By crossing the subtle line between the private and the public space, figures (whose identity/faces are not captured) firstly appear as bodyguards of the central figure, but then start holding her in the bathtub (as in mental hospitals), as she gradually appears as a body, lifeless, with closed eyes.

Breath

Nowadays we have lost respect, passion and appeal for nature. Skyscrapers and pollution are dominating our lives, We have to fall in love again with a green tree.


Nature has lost her appeal

The kinetic light installation “Nymphéas” is inspired by the lyrical images of ponds overgrown with water lilies by whose side poets and artists have spent countless hours in contemplation of clean, cold flowers.

The flower buds move gently in an optically expansive space, shimmering with different colors. The reflections of the flowers and the people observing them are compounded, creating a sense of submersion into the depths of the surreal pond.

The installation consists of 37 kinetic light modules mounted on a steel frame and covered with triplex glass. Each module consists of a “flower” operated by custom-designed mechanisms. For this installation, a unique set of 3D-printed details and a custom Art-Net controller were created, allowing the installation to be controlled externally with a standard lighting console or third-party software. The whole circular “pond” is 4.85m in diameter and 0.6m in height (elevated 0.15m from the ground).

“Nympheas” has already been installed in a permanent exhibition space. However, as a result of the coronavirus pandemic, it has not yet been presented to the public.

Credits
Concept, production and video: VOLNA
Camera / photo: Polina Korotaeva, VOLNA
Music: Hush Pup – Flower Power
© VOLNA (2020) © Hush Pup (2018)

Nymphéas – kinetic light installation by VOLNA

„Entschlossen“
2020

Bronze, Messingstange und Steinsockel (Travertin o.ä.), Edition: 6 + 1 EA
Kopf-Höhe ca. 12cm
Gesamthöhe: ca. 30cm

Anmerkung: Die Abbildungen sind Fotos von der ersten Auflage, also 1/6. Die beiden weiteren Auflagen können produktionsbedingt durch den Bronzeguss und den Steinsockel leicht abweichen.


Entschlossen

It's digital art, created in India, using software. 

My working method is quite simple. I go on changing the colors and forms till an intense feeling of satisfaction washes over me and I know these works need to be saved. 

I title the work with the date of its creation. It started because I didn't have the name for the finished work and did not wish to spend time thinking about the title so I just saved it with the date.  Later I thought being digital artworks, naming the works by numbers was cool. Because the whole process happens instinctively, and I cannot repeat the process, this makes that each artwork becomes a unique piece.

Working in the virtual media gives me the freedom of space and the choice of colors is something to be enthralled about. 


Render 120920-7

Kim’s works recount memories of everyday encounters such as sceneries, movies, and books. With ordinary scenes and popular images as his source, the artist constructs a subjective archive. 

Work, the result of a 2 year-long project, is the artist’s record of contemporary culture. Each work is an interpretation of a popular image, such as the famous dancing scene in the Academy- winning film La La Land, the scene in Haruki Murakami’s novel 1Q84 in which the protagonist looks up at the moon, and the lamppost in the C. S. Lewis series The Chronicles of Narnia. 

Kim's works show simplicity, sincerity, and authenticity like Milton Avery and Philip Guston. The materials he uses; oil pastels and oil sticks give viewers intimate feelings. This work shows how contemporary film and literature with distinct characteristics are reduced down to uniform colors when processed through a consumer. 

Untitled #1

Acryl/Aquarell/Pigmenttusche auf Pappe
29,7cm × 21,4cm
2016

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