Christine H. Sandoval is a Brooklyn-based artist whose work has been exhibited at a variety of venues in NYC and beyond — most recently at Socrates Sculpture Park in Long Island City. I had a chance to meet Christine in DUMBO to see her latest installation work just as she was wrapping up a two-week intensive residency at Triangle Arts Association. Sandoval’s approach to art-making draws from “field work” which involves exploring locations where industry and nature converge. The Hudson River waterfronts of NYC and derelict industrial sites across the country are all of interest to Sandoval. Her blend is part artist and part anthropologist with a dash of near-criminal. After all, to gain access to some of the key locations, she needs to ignore all warning signs and, in at least once instance, distant gun shots. We should be thankful for those risks that Sandoval has taken. The resulting sculptural installations are beautiful structures that range from Mad Max-like miniature cities built from salvaged materials to larger-scale, outdoor, architectural structures incorporating photographs. Rest of the interview and pictures after the jump. — Nickolas Roudane
Posts Tagged ‘ART’
Hedvik Jenning and Slobodan Zivic recently completed The Protector Series, curated by Jonas Kleerup. This collaboration takes the strength of both participants and marries them in a way that brings out the best in both. Zivic, the Swedish graphic designer once half of design duo Dizel&Sate, has long collaborated with others but these pieces seem to have a bit of a different tone. These images are considerably less influenced by Zivic’s usual street art and Bauhaus japanime and more defined by Rushka-esqe shapes. The Protector series captures a depth in subjects he described as “Observant, cooperative, informative and attentive. They are greatly concerned with the security of others and they often find assisting the downtrodden or people with disabilities to be satisfying. Protectors are comfortable working alone and they are often uncomfortable being in positions of authority. They often dislike situations where the rules are constantly changing. More images after the jump. — Kelsey Kreiling
The Protector series is available for purchase at Restaurant Tranan- Karlbergsvägen 14, 113 27 Stockholm, Sweden.
Currently on view at the American Folk Art Museum is a survey of visionary artist Eugene Von Bruenchenhein (1910-1983). The title of the exhibition “Eugene Von Bruenchenhein: ‘Freelance Artist—Poet and Sculptor—Innovator—Arrow maker and Plant man—Bone artifacts constructor—Photographer and Architect—Philosopher’”, taken from a plaque the artist inscribed himself, says it all. Von Bruenchenhein worked with a variety of mediums with a dedication and intensity that spanned over 50 years. He created fantastic crowns and flowers and vessels in clay –which he delicately painted. On view in this exhibition are rarely-seen pen and ink drawings which straddle the line of design and decoration. He chipped shards of glass into arrowheads, painted fantastic imagery in vibrant colors, constructed miniature towers and thrones from salvaged chicken bones, and photographed his wife Marie.
In the photographs of his wife, the artist adorned her with shimmering crowns and created settings with wild floral wallpaper as backdrop. These photographs are deeply intimate, and it’s clear that his wife was his ultimate muse. Von Bruenchenhein was a modest man and was not known beyond a small circle of friends during his lifetime. This doesn’t mean that he wasn’t extraordinarily prolific though. When exhibitions are mounted of his work there are always new treasures to be discovered. This newest exhibition is an excellent survey of the diversity of the artist, and a great chance to see rarely touched upon aspects of his practice. –Nickolas Roudane
Dripping paint is, understandably, the bane of many a painters’ existence. No matter how meticulous or precautious one is, all it takes is one fat, greasy slug of wayward paint to instantaneously lay months of work to waste. Swiss artist Chrissy Angliker was returning to fine art for the first time in six years when a rogue drip threatened to ruin a self-portrait. “I had such a big reaction to that drip, which I perceived as being a total mess up,” the pixieish 27-year-old explains, “and then I realized …wow…that I haven’t had such a big gut reaction to something since I don’t know when.” Now for every perfectly executed brushstroke Angliker makes, she creates a big old flagrant drip to counterbalance it. According to Angliker, each drip strives to further illustrate the unknown multitudes and vicissitudes of a subject. She explains, “I feel that it is important to include the “uncontrollable”, the things about the subject one doesn’t know and therefore can’t make any assumptions about.” The results are gorgeously emblematic and strangely psychic. Angliker sat down with Oakazine to talk about her philosophies as an artist and creator. Interview and more works after the jump. — Marlo Kronberg