Emma Hyles CONTEMPORARY ART BLOG

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An archive of influences and the humble beginnings of ideas. BA(Hons) Contemporary Art @ The University of Huddersfield. All blogged references are specific to my research as an art student and also to my own personal musings and enthusiasm for art, design and life.

Year 3 | Professional Practice | Dissertation | Studio Practice
Year 2 | Professional Practice | Contextual Studies | Studio Practice

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    Jesse Chun - Non-Places

    Jesse Chun’s work has been exhibited in solo and group exhibitions in New York, Miami, Los Angeles, Hong Kong, Seoul and Toronto. Selected galleries include Heidi Cho Gallery, Peer Gallery, Miami Aqua Art fair, Fringe Gallery, Hong Kong Central Public Library Gallery, Toronto Contact Photography Festival, Los Angeles Center for Digital Art and Incheon International Women Artists’ Biennale, She is based in New York.

    //selected by ivi

    — 20 hours ago with 214 notes
    "Oh abstractions are just abstract until they have an ache in them."
    Stephen Dunn (via likeafieldmouse)

    (Source: violentwavesofemotion, via likeafieldmouse)

    — 2 days ago with 867 notes
    #stephen dunn  #abstract 
    "What then shall we choose? Weight or Lightness?"

    "What then shall we choose? Weight or Lightness?"

    — 4 days ago
    #milan kundera  #the unbearable lightness of being  #book  #philosophy  #question  #being  #writer  #writing 
    Mitzi Pederson Untitled, 2009 plywood, thread, acrylic paint, ink, charcoal, spray paint 4 3/4 x 37 1/2 x 22 inches
Pederson’s work here appears very minimal and deals with raw material and the addition of a striking hint of colour. The artist appears to have painted the edges of the plywood, which reminds me of acryllic sheets when they are cut; the result being a an edge glowing with a luminous colour. At the moment I am testing out materials by juxtaposing them together, further attempting to insert a striking colour into the installation in order to create a dialogue between material and colour. Pederson’s work here uses only slight colour but appears highly effective, almost as if the colour is a result of using the edge of the wood to paint with. It is also interesting to notice the ‘edge’ of a material, something I do not take into consideration when viewing sculpture or making sculptural work. In terms of my own work, the linearity of the colour-edge could be a reflection of the straight edges and grid lines I use within my digitally manipulated grid prints. During the course of the upcoming weeks I may find time to paint edges of materials and consider their arrangement within the exhibition space. 

    Mitzi Pederson Untitled, 2009 plywood, thread, acrylic paint, ink, charcoal, spray paint 4 3/4 x 37 1/2 x 22 inches

    Pederson’s work here appears very minimal and deals with raw material and the addition of a striking hint of colour. The artist appears to have painted the edges of the plywood, which reminds me of acryllic sheets when they are cut; the result being a an edge glowing with a luminous colour. At the moment I am testing out materials by juxtaposing them together, further attempting to insert a striking colour into the installation in order to create a dialogue between material and colour. Pederson’s work here uses only slight colour but appears highly effective, almost as if the colour is a result of using the edge of the wood to paint with. It is also interesting to notice the ‘edge’ of a material, something I do not take into consideration when viewing sculpture or making sculptural work. In terms of my own work, the linearity of the colour-edge could be a reflection of the straight edges and grid lines I use within my digitally manipulated grid prints. During the course of the upcoming weeks I may find time to paint edges of materials and consider their arrangement within the exhibition space. 

    — 6 days ago with 1 note
    #Mitzi Pederson  #sculpture  #art  #artist  #wood  #abstract  #paint 
    Mitzi Pederson, yellow and orange, 2006. Cinder blocks, cellophane, and wood, 64 x 72 x 80 in. (162.6 x 182.9 x 203.2 cm). Collection of the artist.
Mitzi Pederson explores the formal qualities of abstract sculpture, juxtaposing such disparate materials as cinder blocks, plywood, plastic, cellophane, silver leaf, and aluminum tape in carefully balanced constructions that challenge the viewer to directly engage with the materiality of the work. Her sensitive use of specific media results in visually compelling works drawing on the legacy of modernist sculpture from Constantin Brancusi’s attention to wood and stone surfaces to Donald Judd’s use of industrial materials.
In yellow and orange (2006) a tall mast of cinder blocks supports a construction of thin, bowed wood paneling and shimmering orange cellophane. Extending from the tower, the cellophane is drawn taut by a sheet of wood that, anchored between two blocks of a second, shorter column, in turn bends and yields to the pull of the plastic. The thin, tacky cellophane emphasizes both the heft of the cement and the strength of the arced wood, but by withstanding the strain of the forces acting on it, the diaphanous strip proves improbably strong and resilient. As she draws our attention to the properties of these simple, everyday materials, Pederson illustrates the tensions between them as well as their collaboration. Hinting at her early training in architecture, she often utilizes the gallery infrastructure in her work. Here another strip of bowed plywood is secured between the corner of the gallery and the cinder stack, while a second sheet of plastic extends along the wall. The design relies on the inherent qualities of each component and its environment, the elements engaging in a tenuous interdependency as they reach equilibrium. This implicit interaction and movement imbues the work with its disarming impermanence.
The precarious balance of her constructions is central to Pederson’s practice. In untitled (ten years later or maybe just one)(2005) the arrangement of coarsely chipped cinder blocks—smaller, solitary fragments leading to larger, stacked pieces—is reminiscent of craggy mountainscapes or historical ruins. Placed without mortar to adhere the blocks, the work is at once transitory and enduring. Pederson has overlaid the exposed, rough edges of the broken blocks with dark gray glitter, visually offsetting the weight of the material and its connotation of building construction. The sparkling fragments take on an organic, crystalline appearance that transforms the banal building material into a timeless, otherworldly substance. Elegantly negotiating and balancing the properties of her materials, Pederson creates subtle, enigmatic sculptures that resonate with an allusive ambiguity. STACEY GOERGEN

    Mitzi Pederson, yellow and orange, 2006. Cinder blocks, cellophane, and wood, 64 x 72 x 80 in. (162.6 x 182.9 x 203.2 cm). Collection of the artist.

    Mitzi Pederson explores the formal qualities of abstract sculpture, juxtaposing such disparate materials as cinder blocks, plywood, plastic, cellophane, silver leaf, and aluminum tape in carefully balanced constructions that challenge the viewer to directly engage with the materiality of the work. Her sensitive use of specific media results in visually compelling works drawing on the legacy of modernist sculpture from Constantin Brancusi’s attention to wood and stone surfaces to Donald Judd’s use of industrial materials.

    In yellow and orange (2006) a tall mast of cinder blocks supports a construction of thin, bowed wood paneling and shimmering orange cellophane. Extending from the tower, the cellophane is drawn taut by a sheet of wood that, anchored between two blocks of a second, shorter column, in turn bends and yields to the pull of the plastic. The thin, tacky cellophane emphasizes both the heft of the cement and the strength of the arced wood, but by withstanding the strain of the forces acting on it, the diaphanous strip proves improbably strong and resilient. As she draws our attention to the properties of these simple, everyday materials, Pederson illustrates the tensions between them as well as their collaboration. Hinting at her early training in architecture, she often utilizes the gallery infrastructure in her work. Here another strip of bowed plywood is secured between the corner of the gallery and the cinder stack, while a second sheet of plastic extends along the wall. The design relies on the inherent qualities of each component and its environment, the elements engaging in a tenuous interdependency as they reach equilibrium. This implicit interaction and movement imbues the work with its disarming impermanence.

    The precarious balance of her constructions is central to Pederson’s practice. In untitled (ten years later or maybe just one)(2005) the arrangement of coarsely chipped cinder blocks—smaller, solitary fragments leading to larger, stacked pieces—is reminiscent of craggy mountainscapes or historical ruins. Placed without mortar to adhere the blocks, the work is at once transitory and enduring. Pederson has overlaid the exposed, rough edges of the broken blocks with dark gray glitter, visually offsetting the weight of the material and its connotation of building construction. The sparkling fragments take on an organic, crystalline appearance that transforms the banal building material into a timeless, otherworldly substance. Elegantly negotiating and balancing the properties of her materials, Pederson creates subtle, enigmatic sculptures that resonate with an allusive ambiguity. STACEY GOERGEN

    (Source: whitney.org)

    — 6 days ago with 2 notes
    #Mitzi Pederson  #yellow and orange  #materials  #art  #sculpture  #abstract  #artist 
    outdoor-yellow9, (2004), Pecafil, cable ties, 6 x 3 x 4 cm, Michael Beutler

    outdoor-yellow9, (2004), Pecafil, cable ties, 6 x 3 x 4 cm, Michael Beutler

    — 1 week ago with 2 notes
    #Michael Beutler  #outdoor yellow  #sculpture  #art  #artist