Inspiration Image

alecshao:

Nick van Woert - Disappear, 2012

alecshao:

Anne Lindberg - Raume Yellow, 2010 - Egyptian cotton thread and staples

alecshao:

Andy Denzler

alecshao:

Chiharu Shiota - In Silence, 2011

ssdmmfr:

Artist & Sculptor:

Antony Gormley

   “British sculptor Antony Gormley is well-known for his life-size sculptures that creatively mimic the human body, but the figurative clay mounds from his series titled Field, though not as accurate in depicting mankind’s form, holds deeper value for the artist. Gormley says of this project, “I wanted to work with people and to make a work about our collective future and our responsibility for it. I wanted the art to look back at us, its makers (and later viewers), as if we were responsible - responsible for the world that it [FIELD] and we were in.”

“This passion project that has spanned across almost 15 years on five separate occasions in different parts of the world displays an army of 200,000 clay figures that completely occupy the space they are exhibited in. Gormley works with the native people of the installation’s exhibiting space to mold the 125 tons of clay. The artist animatedly describes the figures as being “energised by fire, sensitised by touch and made conscious by being given eyes.”

From:

http://www.mymodernmet.com/profiles/blogs/antony-gormley-field

ssdmmfr:

Artist:

Kim H. Adams

Auto Lamp

Dodge Ram Van 96

2009

http://www.diazcontemporary.ca/Artists_Adams.html

“A vehicle is supposed to light the way ahead and signal its presence to those behind. Adams shifts Auto Lamp’s original functionality to a kind of lighthouse on land, or for this occasion, an oversized lamp for night owls. Placed on a rotating display, the Auto Lamp is signaling in place guiding the viewer to both stay and go. Turn off the car, turn on the light. Turning 360º, the road’s line is revised to a slow whirl, a traffic circle of light. Adams’ work frequently involves vehicles, but often his sculptural intervention is additive, the vehicle outgrows its bounds and becomes a bemusing behemoth. Staging a surplus of scenes colliding in a multitude of scales, the resulting sculptures are pure excess. Auto Lamp suggests a new direction for Adams, here the process of subtraction he employs similarly produces an excess, but of the immaterial. Light beams puncture the auto’s body and pour out in all directions — the patterned pores of all sizes create a mesmerizing decorative display. The vehicle’s consistency is compromised, it’s barely there, it’s more holes than whole. 

Kim Adams currently lives in rural Ontario. He is a “process-oriented” artist who manipulates pop cultural artefacts, i.e. found objects to create miniature worlds and buildings. This internationally known contemporary Canadian artist manufactures inexplicable structures often influenced by architectural accidents. He has shown his work nationally and internationally since 1978.”