[TrA] holds the essence of a planetarium and a mandala. This fall, Di Gregorio took his young children to the planetarium at the Lawrence Hall Of Science in Berkeley, CA. While constellations may seem like nothing more than memory aids to distinguish particular stars, they also remind us how small we are in the universe and that this is part of what makes us important to each other. One constellation in particular caught DiGregorio’s attention, the small Triangulum Australe (TrA) in the southern sky.
To create a mandala with the constellation, TrA uses the principles of the Net of Indra. It stretches out infinitely in all directions and is associated with the motionless timeless center of the universe. To illustrate theses concepts of emptiness, as well as interpenetration, ten circles that form a density in its design. TrA serves as the equilateral triangle increasingly obscured within the circles.
This virtual world was created as an homage to specific books that are her current sources of inspiration. Kang traveled around the world to visit and photograph different bookstores and famous libraries in order to then recreate each environment as digitized versions of the original simulacra. The familiarity of these places gives Kang’s lurid universe an unexpected and sublime sense of organic beauty.
Each of Kang’s unique book covers are modified appropriations of the original covers rather than an exact replica. The “hyper books” are then arranged in stacks to show Kang’s growing interest in the relationship between text and the imagined literary space that the texts represent. This is further asserted as quoted text from each books in LED scrolls across the surface, making the information contained readily available and accessible to the viewer. Thus the content of each book is automatically visible, suggesting an ultramodern view of knowledge and intellect that is predetermined and entitled, rather than learned over time.
I claim for myself the right to determine the terms and images that reflect my personal identity. Translation is in homage to my mother and father. I was adopted when I was an infant and while growing up, I felt that I was who I was because of my blood. In my years of personal development I have realized it is much more than that. I am an amalgamation of the emotional, psychological, and physical attributes of my parents.
My mother and father are both analytical by nature. My mother, is a mathematician and my father, a civil engineer. The arrangements that come to fruition in my work are similar to the systematic way that my mother solves mathematical problems; my attraction to line and architecture stems from my father. Growing up I would flip through the blue prints and bridge plans that were on my father’s desk. The colors in Translation come from my mother and father’s use of black, red, and blue pens, along with the yellow highlighters scattered around the house.
At this point I use an inclusive visual language that honors my individuality in my work in sculpture and installation. Translation and other works utilizea grid of nails as a framework for the attachment of threads under tension. This system allows for connections to be made and leaves space for accretion. The various threads are similar but individual, each one being a dependent variable in a formula. As each thread is secured from point to point, an organic form of visual biology is generated.
Mother Earth Sister Moon by Joanna Malinowska and Christian Tomaszewski
About the project:
The project explores how the future was imagined under the Communist regimes of the former Soviet Bloc by investigations through the lenses of architecture, music, fashion and style. The project also incorporates other elements related to a diverse range of Eastern Block phenomena, including the Soviet space program, sci-fi film and literature, and a journey to the site of the mysterious 1908 explosion over the Tunguska River Valley in central Siberia.
The research concerning these various elements manifests itself as a giant reconstruction of the suit worn by the first woman in space, Russian astronaut Valentina Tereshkova. This suit pays tribute to the sculpture Hon-en Katedral, an enormous female figure conceived by Niki de Saint Phalle and Jean Tinguely at the Moderna Museet in Stockholm in 1966.
Heritage 2013 by Cai Guo-Qiang is a planned installation for an upcoming exhibition at Queensland’s Gallery of Modern Art (GOMA). It will feature 99 life-size replicas of animals gathered around a watering hole and is meant to represent our interconnected relationship with nature and each other.
The theme for Harper’s installation: “these trees shall be my books,” comes from William Shakespeare’s “As You Like It,” but the goal of the work goes far beyond Orlando’s wish to immortalize Rosalind. Harper seeks to immortalize the love of knowledge, and the homage owed to the living things we use to create stores of knowledge for all to study. “STACKS” captures the transformation from living tree to store of knowledge.
Always/Never is a grid of pyramidal elements inspired by the sundial, each passing through time at a different rate. Changing patterns of light and shadow create the illusion of a fluid surface; shifting combinations of colours from nature recall different times of day.
Squidsoup is an international group of artists, researchers and designers working with digital, interactive media installations. Our work combines sound, physical space and virtual worlds to produce immersive and emotive headspaces where participants can take active control of their experience. We explore the modes and effects of interactivity, looking to make digital experiences where meaningful and creative interaction can occur.