Fusing sculpture, painting and poetry together with textiles. Colours mutate, canvas becoming a geometric abstraction. Sprockets, wires and stitching are part of his lyrical visual syntax. He choreographs the audience – we might stub our toe on an object nestling against the wall or be arrested by a construction’s ascent into space.
The model designs of playful cities and the creative human being at the centre. Man would be liberated from manual labour and dedicate himself to the development of creative ideas. Interweaving and intersecting each element, joining and conversing. A series of linked transformable structures, perched above ground. A post-revolutionary world.
Reflecting a life of climbing, relationship to space and participatory engagement. Seek to create open narrative through that experience. Often using the contribution of others in multiple mediums. It draws from, responds to, documents or reflects the experience of seeing, being and doing whilst linking to social, political, environmental or historical contexts. Large-scale, noticeable from afar, making a statement.
Sculptural installations made from mass-produced materials like wooden pallets, balsa wood, corrugate tine, and cardboard. Suggests a links between socio-economic status and architectural styles. Influenced by his childhood interest in urban spaces, often living near his site-specific installations.
Artist, musician and writer, combining sculpture with durational performance. The messages that he portrays are those that need re-enacting for them to stand a chance against dominant histories. Ruins recyclable materials by mixing them with toxic items. Encourages a more ecological response to the material world within anyone who experiences the things they might make or write.
Concept and mobile architecture was the basis of Friedman’s work. The infrastructures are neither determined nor determining giving a mobility to both inhabitants and buildings. Spatial city touches the ground over a minimum area, is capable of being dismantled and moved, and can be alterable as required by the individual occupant. Freedom in space. Allowing nature to grow, much like the Walter Segal self build technique.
Bamboo and natural materials are often used in developing countries to alleviate housing, infrastructure problems and lowering pollution. Only certain species suitable for building with. Growing in abundance, controlling water cycles, reducing erosion. Steel substitute, holding weight and bending to conform to structures with loading slats under torsion and bending. Effective experimental investigation of bamboo and concrete, questioning marital agreement with other materials. Tied and twisted together to create intricate and solid structures.
In an oeuvre spanning sculpture, ceramics, painting, drawing, collage, video, and garments, Ruby continually returns to themes of societal and art historical friction, generating feelings of anxiety and agitation by contrasting clean lines and recognizable objects with coarse and uncanny forms.Gagosian, 2019
Through the use of contrasting mediums, techniques, and textures, Ruby explores the tensions between fluidity and stasis, Expression and Minimalism as well as, the abject and the pristine. Acts of defacement can produce a painterly sublime, as seen in his textured works. The contrast of colour is empowered further by the materials used within the sculptural and painting works. A dribble or scrape across the clear surface could completely alter the serenity and stillness of the work.
Kwade uses large scale sculpture to reflect on time, perception, and scientific inquiry. Powder-coated steel and polished stones create a questionable universe filled with angles, weightlessness and questions. The large scale sculptures seem to have no way of balancing, yet they hold still on rooftops and in galleries, and battle the elements. Within the steel sculptures, there is the possibility of movement through the fanned out spacing, creating a new scientific element.
Part of these works is a careful composition, for the stone is large enough that it is not lost in the steel, and the steel is strong enough to hold the large balls of stone. The other part of the works is the balance between the the materials, ensuring that they are stable in their position, as well as in their individual element.
Time seems to stop still when viewing these artworks, for they themselves are a moment of it. Perception of the world, the universe and science changes for you appear to view another side of it. Science it all at the heart of it.
Imponderabilia, a performance by Marina Abramovic and Ulay, her then lover. This performance involved the lovers standing and facing each other while naked in a narrow doorway. This was the only doorway through to a part of the exhibition, forcing visitors to walk through the two artists with skin on skin contact if they wanted to get inside the space.
It is a poetic gesture, for if there were no artists, there would not be museums, and so the artists become the door into the museum. The purpose of the performance was then placed upon the visitors and their reactions, who became the protagonists of the performance with their raw reactions.