Time for some new top projects from the artist in our network! This week we have selected a video work, some digital sculptures, mixed media projects, a sound performance, and more. Enjoy!
Starting from an essential principle: expanding beyond the margins of everyday consciousness the pictorial expression of sensitive utopias. Moving through the light arm, a major prism is in question: the writing film!
Through this, Radical Beauty overcome the usual criticism of social construction of beautyness, mostly regarding the representations of the human soul in media. The concept [radical beauty] turns to be a theme but also a communication mechanism and therefore focus into a speciﬁc idea materialized through film.
We know that aesthetic is experienced when our perceptual – interpretive processes do not manage to decode their input in terms of pre-existing concepts but nonetheless display a meaningful kind of coherence. This suggests that art provides perceptually ambiguous and indeﬁnite inputs and avoids the straightforward expression of unequivocal ideas. By the other end, creation expresses, most of all, dominant values.
This way, one aesthetic on the edge of the limits of art can be viewed as an artistic creation that expresses the desire of change. Likewise, radical beauty can change dominant values through creation, only achieved by the experience of an approach to the expression of new kind of ideals.
The intervention-based works of Brian Black and Ryan Bulis have helped the duo develop the persona known as Brian and Ryan. Their Sound Collection Helmets are a literal means to collect the sounds of a city. As this work advances, it has evolved into finding stories that could represent a current place, its history, and future aspirations.
By recording the person from from two different directions and then combining the two audio tracks, it creates a particular feedback quality in which different ambient noise is picked up in the background. To date, they have brought this work to several cities and events across the United States including San Diego, San Pedro, Lincoln, Orlando, Art in Odd Places: Noise, Global Frequencies, The Wrong Festival and Soundpedro.
Our intention was to have a conversation through sculpture, handing an item back and forth from one another, adding and manipulating the object with each ‘reply’ to create a series of sculptural forms.
Not living together meant exchanging these works during lockdown was impossible. We decided instead to digitalise our work and have the conversation via blender, sending the files to one another.
The forms that we have designed during lockdown are built up from a number of photo scans of physical sculptures that we have made individually. The programmes we have been using have allowed us to manipulate the size, texture and colour of these once small physical objects and combine them with digitalised line drawings which I would have originally used in my own work to create pieces of laser-cut furniture. The result of these conversations is a series of architectural and sculptural forms that we wish one day to realise physically.
The most recent architectural designs have been influenced by a series of classical style buildings from places we have spent time together; Edinburgh, Florence and West London. Using our photo scans as the building blocks Hugo has created structures inspired by such buildings, I then continue the design process, incorporating features more characteristic of Chinese Imperial buildings along with colour. The finished structures blend elements of Western and Eastern architectural designs, enabling us to have a sculptural-digital dialogue through which we have been able to communicate our own artistic styles and interests to one another.
The body of work entitled «fficcionness» [from the spanish word: ficciones –fictions–] is born from the encounter between two artists and the two different mediums their practices have been developed in, bounded by a common interest towards intimacy and, namely, the oneiric and fantastic tints that the relationship between their oeuvres may arise.
The word «correspondence» hangs on to the latin verb «spondere», the act of promising, of giving one’s word, an action that connects the present with a future possibility, the possibility of an answer, the response to a stimulus, a correspondence.
This process lies within the touch, the contact, which is a gesture that repeats itself throughout the different pieces of the work: the touch of the skin, the constant approach between the graphic and the photographic, the abstraction and the figurative, the physical and the emotional.
Such an encounter turns then into a promise, one that goes beyond the spacetime dimension, and that becomes virtual without losing sensibility, and physical without losing abstraction.