Tuesday, March 30, 2010

Ian Dawson

Ian Dawson was Born 1969 in Darlington, Co. Durham, UK. Dawson attended the Royal College of Art and the Winchester School of Art in England. Dawson produces large-scale sculptures out of a variety of materials. Many of his works consist of colorful plastic containers that are modeled into exotic forms through heat manipulation. He strips objects of there original use and begins to position them between painting and sculpture. Some projects of his include large sheets of screen-printed paper that have been crumpled and seemingly tossed randomly into a corner. Dawson usually chooses objects that have some kind of life-like quality.

Spotted Lump, 2005

screen printed paper

53 x 56 x 59 cm

White Paper Pile


Multi Coloured Spiro, 2003

Ink on Gesso Panel

Monday, March 29, 2010

Pae White

Drawn from an abundance of art historical and pop cultural sources, Pae White's cascading mobiles evoke everything from schools of fish, flocks of birds, and teeming ponds, to Impressionist paintings with their myriad marks. White describes this body of work as "an exploration of movement contained." Like "a waterfall on pause" the works are "a flurry of color and gentle movement, suspended for contemplation." Made with brightly colored cut paper strung on colored thread, the pieces move in response to the slightest breath, defining three-dimensional space while remaining fluid. 
"...an enchanting wonderland of visual delight and sensual savvy" 
- Los Angeles Times

Tapestry/red (detail)
2005, cut paper collage, 42 x 369 inches

Smoke Tapestry 2
 2007, woven fabric, 118 x 81'

2006, silkscreened paper and thread

Monday, March 22, 2010

Antony Gormley

Antony Gormley was born in London in 1950. Upon completing a degree in archaeology, anthropology and the history of art at Trinity College, Cambridge, he traveled to India, returning to London three years later to study at the Central School of Art, Goldsmiths College and the Slade School of Art. Over the last twenty-five years Antony Gormley has revitalized the human image in sculpture through a radical investigation of the body as a place of memory and transformation, using his own body as subject, tool and material. Since 1990 he has expanded his concern with the human condition to explore the collective body and the relationship between self and other in large-scale installations. (http://www.skny.com/artists/antony-gormley/)

Learning to Think
1991 lead, fiberglass, air 5 figures
each 173 x 56 x 31 cm

Standing Matter XX
Mild Steel Forged Balls
19 x 53 x 31 cm
75 x 21 x 12.2 in

Feeling Material XXX
5mm square section solid steel bar
250 x 210 x 195 cm

Doug Aitkens

Aitken’s body of work ranges from photography, sculpture, and architectural interventions to films, sound, single and multichannel video works, and installations. He has described his work as "reflecting a world that is harmonious, mysterious, mesmerizing, passionate, and sometimes rough and violent." His work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Whitney Museum of American Art, The Museum of Modern Art and the Centre Georges Pompidou in Paris.

Sleep Walker.
(Videos projected on Buildings in New York.)
Sleep Walker
Sonic Pavilion
(600ft. At the bottom of the hole hangs a very sensitive microphone that feeds to a number of speakers back at the surface of the earth. The sound heard inside the pavilion is an amplified live fed of the moving interior of the earth.
(Fed-ex cardboard boxes.)

Colin Rose

Colin Rose was born in Newcastle in 1950. He studied at Newcastle upon Tyne Polytechnic (1973-76) and undertook post-graduate studies in sculpture at Newcastle University (1977-79).Colin Rose's work usually consists of using trees placed within the sculpture. “In his early work, he found 'homes' for objects in the trees around his studio. In 1984, he considered the idea of a tree being a place in the landscape, offering a harmony with the elements.” After this he began working with different landscapes. He most often combines his large scale structures with either metal or wood. Rose seeks to find a composition in which trees are thrown into a visual imbalance of either losing or damaging the branches.
Night and Day, 1992
800 cm

Breeze, 1991


300 cm

Swirl sculpture

30ft (10m) high

Monday, March 8, 2010

Paul Day

Paul Day was born in Horsham, West Sussex in 1967. He studied at Colchester Institute from 1987-88 and then studied painting at the School of Fine Arts at Dartington from1988-89. He didn’t enjoy Darlington and switch to sculpture at Gloucester School of Art and Technology in 1989-91. He got his degree in sculpture and developed a love of clay because he felt it worked better for his figurative work. Since 1993, Day has been working in France continuing his work with figures. “Day's sculptures, reflect his observations of life and human activity, particularly in cities. Human form and architectural detail are brought together with a unique and truly humanist sensibility.” Currently he works mostly with bronze and combines both urban and city into his sculptures.
Sunday Sport , 2001
127 cm (edition of 6)

The Meeting Place, 2007
bronze statue
9 metre high

The Battle of Britain,
1 September 2005

Friday, March 5, 2010


Robert Bradford grew up in a fairly bland South London suburb and wanted to become an artist from a very young age. In 2004 Robert began experimenting with a series of sculptures which utilise plastic toys as their main modelling material, and which have now attracted consistent international attention. After trials with two unsatisfactory construction methods, he began screwing the toys into wooden armatures, which proved both strong and highly adaptable as a method. "For a long time now I have preferred to use materials that are not bland i.e. have some kind of history of weathering or use. One day about four years ago out in the studio I was looking into my childrens box of outgrown / discarded toys which happened to be stored in the same building and responded to the random collection of colours shapes and forms they made. I figured that if I could find a way of putting them together to constitute a larger form they would have great potential as larger scale sculpture. Over the next while I experimented with two other construction methods (which both had their downsides) - before one day about a year ago in frustration I tried putting a screw through one toy and then many others. To my surprise most didn’t crack or shatter and the new series has been largely based around and developed from that fact."(from Robert Bradford's website)
  • Wood Mesh Plastic Toys
  • 1m x 0.60m x 0.60m

  • Wood Sections Gloss Paint 
  • 1m x 3m x 1.5m

  • Mixed in Box Frame
  • 40 x 60 x 18 cm
  • framed

Thursday, March 4, 2010

Mark Jenkins

Mark Jenkins (b. 1970 in Fairfax Virginia) is an American artist most widely known for the street installations he creates using box sealing tape. His work has been featured in various publications including Time, The Washington Post, Reuters, The Independent and on the street art blog Wooster Collective. He has shown indoors in galleries in the U.S., Europe, Japan and Brazil and is represented by various galleries including Lazarides Gallery in London. He maintains the Website tapesculpture.org and teaches his tape casting process in workshops in the cities he visits.

Mark Jenkins said the following about the illegal aspects of street art during an interview with art critic Brian Sherwin "There is opposition, and risk, but I think that just shows that street art is the sort of frontier where the leading edge really does have to chew through the ice. And it's good for people to remember public space is a battleground, with the government, advertisers and artists all mixing and mashing, and even now the strange cross-pollination taking place as street artists sometimes become brands, and brands camouflaging as street art creating complex hybrids or impersonators. I think it's understanding the strangeness of the playing field where you'll realize that painting street artists, writers, as the bad guys is a shallow view. As for the old bronzes, I really don't see them as part of what's going on in the dialogue unless addressed by a new intervention. “

Washington DC
Street art

Life Size
Boxing Tape

Paper Mache

Monday, March 1, 2010

Miwa Koizumi

Miwa Koizumi "My interests are varied, and the materials I use to express my ideas run the full gamut of contemporary artistic practice. My main themes are of memory and disappearance, which I express by using natural phenomenon to reveal simple facts about our everyday existence. I enjoy bringing your attention to those simple wonders which are easy to forget in a everyday life. I use sound, image, smell and taste as a materials. I usually present my work a careful installation. An installation is a way to leave the confines of the material and approach the freedom of dealing directly with ideas I am excited to make an installation of almost nothing. On trash: Since I moved to NY four years ago, I have started to see garbage as small creatures. Everywhere I go they are waiting for me. I pass by and they want to talk with me. I think this is based on an Asian mentality. ( also I use a lot of ephemeral materials to make a meaning for nothing) Especially in Japan, we have many spirits in our everyday life. Even if an object doesn't have a mind, its spirit affects me. This idea gives me a different point of view when observing things. One day I was thinking that.... ages ago every human would hunt or forage for materials outside (animals are still living the same way). I decided to go outside looking for ideas and material to make my work. This is how my "PET" and "kite project" came out of my head." (from Artist Statement on site)
plastic water bottles, 2005
installation view at Sawaguzo at Redux

Poland Spring heel, 2005

plastic water bottles, 2005
installation view at Sawaguzo at Redux

Phillip King

Phillip King was born in Tunis in 1934. He studied sculpture at St Martin's School of Art from 1957-58. King started his career of works in the 1950’s by using small and made in clay and plaster. In 1960 he traveled to Greece and was inspired by their classical architecture. He then made drawings which helped him develop an abstract approach to sculptural form. He later moved from clay and plaster and started using fiberglass and color in 1962. In the 1980’s he used this figurative way of sculpture and made large scale projects using a mix of clay and newspaper. Later he began teaching as a professor of Sculpture at the Royal College of Art from 1980-90. Continuing on in 1990’s, King spent time in Japan learning to make ceramics on a very large scale. In 1994 he retired from his job at the Royal Academy of Art to continue his sculpture full time.

Sun's Roots II, 2008
stainless steel
400 x 560 x 220 cm
Sun and Moon , 2007
painted stainless steel
860 x 480 x 300 cm

Quaver, 1970
Painted aluminium and steel
117 × 69 × 79 cm / 3ft10 × 2ft3 × 2ft7 ins