One quarter mile was the exact distance between Robert Rauschenberg’s house on Captiva Island and his artist studio. As a distance, it is neither long nor short; more like a healthy buffer or decompression zone to move between personal and professional spaces without bringing the frustrations of one into the other. But I have to wonder, does this concept really work for Rauschenberg, an artist who famously declared acting in the “gap” between art and life?
Kelsey Brookes is a San Diego artist who has beautified my common errands and end of yoga practices for some time: how can you resist his striking mural in La Jolla? A monumental mandala of gorgeous colors soaring to my almost permanent blue sky, I always find comfort in its all-over unstoppable growth pattern. It spells “life” in concentric circles and ripples but the art of Kelsey Brookes is definitely not as happy hippie as you might think. A spectacular new show at Quint Gallery will be showing just that, starting this Saturday September 29, 2018. With mandala-like patterns reminiscent of the world system symbolically represented in Hindu and Buddhist artistic practices, radial motifs simulate the invisible force we all depend upon: life. Color patterns and symmetry make for a meditative experience; when made of sand, mandalas remind us all of our impermanence. Personally I am in awe of the time and patience such beauties require. No wonder mandalas are often associated with cosmic experiences and transcendence. And that is definitely something Kelsey Brookes channels with his art. Yet with the concept of transcendence come two directions: will you seek to elevate yourself to an out of body experience and aerial […]
Visiting Christopher Puzio’s Studio was a real treat: his work plays a lot on the “frame the view” concept, a key sub-line from the beginning of Reinventingrid, back in January 2017. That is how my eye travels: I simply love capturing in pictures how some art installations encapsulate what lies around them. Bringing the world to attention… San Diego is incredibly fortunate to have many Christopher Puzio works around. All have this uncanny versatility of framing a view while opening up space. He is literally, and figuratively, drilling on what an open work can be.
We all recognize the flags, targets, numbers or colors, these motives Jasper Johns has used in his art since the mid 1950s. They are omnipresent signs in our everyday life. We are drawn to them instinctively as they are instantly recognizable and neatly sum up abstract concepts we may find hard to describe with words. We see the signs but are we fully awake to the concepts? Try this with the American flag, for instance. If you think about it long enough, one ideal and many ideas are encapsulated in this flag…
Not only are Mark Bradford’s typical works monumental in vertical and horizontal scale, they are also layered, built-up thick, oozing a palpable density. These layers can be pages from old comic books, newspaper prints, all glued down and up with shellac. Mark Bradford then works on taking his paper strata from collage to decollage.
I have never really been a fan of Damien Hirst. Or rather I have always felt attraction and repulsion in equal part, without understanding what the hype was about. Yet I am one prepared to give the benefit of the doubt, do some research to form an educated opinion. Since I have done it for Jeff Koons here, I went to look at Damien Hirst’s Veil paintings. Oops, he did it again! 24 monumental canvases, visual eye candies for sure and which sold out almost immediately. Easy work, easy sell, what’s not to like, right?? Well, for a start Damien Hirst cites Seurat’s pointillism and Pierre Bonnard’s approach to colors as main inspirations for his Veil Paintings at Gagosian Beverly Hills.
James Turrell’s installations are made of empty, titanium white painted rooms where embedded LED and fiber-optic lights project an array of programmed changing colors on the walls. Photography is never allowed. Others, like the one I am bringing you today called Dividing The Light, are constructions with an opening cut-out in the ceiling (skyspaces). Spectators can view the sky by day and night, observing its variable color as time progresses but also as the colors of the inside walls change. And that’s where you almost cannot believe your eyes : seeing the sky a given shade of mid-blue one moment, how can it suddenly look grey and diaphaneous as the walls turn purplish red? How can it shift to a darker blue when the walls go from white to yellow to brown, turning the sky almost black and opaque in the process ?
When it comes to colorful art, Yayoi Kusama pretty much obliterated 2017. People flocked to her travelling exhibitions, queued hours to spend 30 seconds in her mirrored infinity rooms and used her bright patterned artworks and polka dots to take awesome selfies and be happy. Quite an awesome accomplishment for art that is produced as the only way Kusama found to resist suicide and survive the hallucinations that have plagued her life since being a young girl. “With no distinction between her as an artist and the product of her art, this is the intensity we can’t help but feel striking us all” was how I described it in my blog last year. Another artist who produced what we perceive as colorful art but which is in fact a form of therapy to alleviate darker life events is French-born Niki de Saint Phalle. Her Coming Together sums it up for me.