Gemis Luciani

"Gemis Luciani manipulates, de-composes and re-assembes common objects such as design magazines, phone books and 3D architectural renderings, he reconfigures them in newly built systems of shapes and surfaces. His collages and spatial, large scale installations are meticulously created, and rely on a strong minimalist aesthetic." See more;

Marginal Compositions, 2013

magazine on dibond with frame / 40cm × 50cm  x 5cm

"Marginal Compositions is a project in development centered on the investigation of a marginal space’s aesthetic qualities. The works are realized with various magazines. Every magazine’s page is folded in a way to erase the textual element of the previous page and to leave only the margin visible. The compositions are produced by repeating this action until the magazine’s surface is completely covered. Every work is a representative but not definitive image documenting this kind of space’s expressive potential."

Models, 2010

magazine on dibond / 40cm × 60cm  x 3cm

"Models is the title of a series of collages created by systematically folding fashion, design, music and architecture magazines. Each "model' represents a typology of movement within the enclosed layout of the magazine. Each page is folded upon the other so as to hide the text  of the previous page. This forms a flow of visual elements, a series of fragments that articulate vertically on the entire surface of the magazine. “Models” is a methodology for the construction of an image which interacts with the spatial organization of paper-based communication through a different compositional model."

Piece of Space, 2011 -13

phone book / 40cm × 30cm x 18cm

“Piece of space” is a research project on the relationship between word and image in the visual representation of urban spaces. The works are realized using telephone books, cut and fixed to the wall.

Flexible Shapes, 2013

 telephone directory of businesses / 40cm × 20cm x 10cm

"Flexible Shapes is a research project about a sculpture’s morphological flexibility,  made of a series of 10 pieces realized inposing an intervention onto a numer of Yellow Pages books. The works are modified after every public exhibition. The work’s transformation, the shape’s durability and its persistence in time are all defined by the exhaustion of the formal possibilities offered by their pages’ sharp cut. The works are exhibited as plastic temporary configurations of an object, until they reach a more permanent sculptural definition."

Graphic Arrays by Aram Bartholl

As beautiful as simple it is the new piece by Aram Bartholl called Graphic Arrays which represent the  whole topic of screen resolutions and aspect ratios and how these evolved over the years.

As he describes; "The left board is dedicated to more recent mobile vertical resolution. The right side represents the long history of desktop screen pixel sizes starting with the classic VGA (640×480) IBM standard from 1987. It’s also fun to look up the most common screen resolutions of Internet users for each year at screenresolution.org. My first screen ever was PAL 576×768 on a C64. Currently I am looking at 2560×1440 overkill px vastness. Of course the DPI(PPI) has increased immensely over the years, especially with all the mobile pads etc recently. It feels weird to look at a 5:4 SXGA (1280×1024, my favorite screen!) screen today, almost portrait ration?!? At the same time when you cut a piece of paper in 16:9 format it looks monster horizontal. But we look at that all day … (on the same topic see also verticalcinema.com)" - Aram Bartholl See more;

Aram is showing this work in a group exhibition at BACK TO BACK DAM Frankfurt, opening next Sunday, also including works by Eelco Brand (NL), Joan Leandre (ES), Gerhard Mantz (D), Manfred Mohr (D), Vera Molnar (F), Frieder Nake (D), Casey Reas (US).

Nice artist statement btw;
240×320, 240×400, 320×480, 480×640, 480×800, 540×960, 600×960, 600×1024, 640×960, 768×1024, 720×1280, 1366×768, 800×1280, 1080×1920, 1536×2048	640×480, 768×576, 800×600, 1024×600, 1024×768, 1152×720, 1280×720, 1280×768, 1280×800, 1152×864, 1280×960, 1280×1024, 1360×768, 1366×768, 1440×900, 1600×900, 1400×1050, 1680×1050, 1600×1200, 1920×1080, 2048×1152, 1920×1200, 1920×1440, 2560×1440, 2560×1600

Paper, aluminum dibond, dimensions: 90 x 56 cm, 54 x 72 cm

Bianca Chang

Bianca Chang's minimalist and geometric based paper pieces are made by hand-plotting multiple sheets of 80gsm 100% post consumer waste recycled paper. Each layer of paper is hand plotted and cut using a pencil, surgical blade and ruler. See more;

Form in white (Gradient), 2012

Form in white (Noise II), 2012

Form in white (Double prism), 2012

Island Pavilion

x 莉 x by Alexander Peverett (95 x 73 cm - edition of 8) Enlarge

Island Pavilion is a new production studio based in Vancouver, B.C. specialized in the printing of original and limited edition artworks. It works with artists committed to a practice of digital image making and computer drawing. The line up of artists which is so far is really good, many of them are from the digital collective Computers Club.

The artworks produced through Island Pavilion are distributed exclusively online through this website and they are mostly giclée prints on archival quality papers. They also offer another different processes and/or materials. In both cases, the materials and process are always detailed in the description of the artwork. See more;

More info, works and artists can be found at www.islandpavilion.org

Click images to enlarge_

Drift #10 by Robert Lorayn (27 x 42 cm - edition of 9) 

Huh by Petra Cortright (107 x 71 cm - edition of 10) 

INFINITE S by Christian Oldham (78 x 98 cm - edition of 15)

Window #2 by Sara Ludy (25 x 29cm - edition of 20)   

Cold storage by Tabor Robak (76 x 47 cm - Edition of 10)

HOMELAND #2 by Nicolas Sassoon (60 x 89 cm  - edition of 15)

Bronson Caves by Brice Bischoff

Amazing photograph series by Los Angeles based artist Brice Bischoff, specialize in photo-based work. This series was realized in Los Angeles, the Bronson Caves are famous for their use in cinema as a stage set to countless movies and television shows, mainly from the western and science fiction genres. In the series of photographs titled Bronson Caves, the caves served as a stage set yet again. Bischoff performed actions for the camera with massive sheets of colored paper. Since a long-exposure photograph was produced rather than a motion picture, the papers were recorded as voluminous, glowing colors. The materiality of the rainbowed forms, emerging from the mouth of the cave, dancing about the canyon, and bubbling up from the ground, are based solely in the photographic process, and can only be experienced when viewing the final photographic prints. See more;

If a visitor to the caves were to accidently stumble upon my performance they would only see a mass of crumbled colored paper draped awkwardly over a man moving/dancing to a camera positioned on a tripod. The goal of these performances was to create sculptural, photographic objects that interacted with the history and architecture of the caves.

The colored paper used during the production of the cave photographs was transformed, weathered, stained, and torn after months of constant use. Deciding to isolate the medium, the props of the action, a studio setting with a pedestal was used to photograph the various scraps of paper. The format of these photographs mimics the traditional way of documenting art objects. However, a photographic technique similar to that explored at the caves was used, exposing the paper into a blurred mass, a pure photographic object. The final phase of the series involved setting the paper ablaze, letting the objects pass in transience but allowing them to persist in photographs. - Brice Bischoff.

via | Look in Art

Michael Kukla

Michael Kukla was born in Prague, Czech Republic, he moved to the US in 1971 and studied painting at Castleton State College in Vermont, where he received his BFA; and sculpture at Hochshule der Kuenste in Berlin, Germany. Kukla has shown in the US and Europe. Among his many commissions for sculpture, Michael was hired by Apple Computer to create marble pedestals for the full line of Apple computers in the year 1992. See more;

Work on Paper

"I work with gouache on paper. The work is monochromatic from black to light gray or silver in tonality. Cellular-like structures emanate from atop a thin wash of light gray or silver and build freely in open air when darker cells appear within lighter cells. This lends the work a sculptural space that can appear either positive or negative. I want the viewer to be able to visually penetrate the paper's surface."

Sculpture

"My sculpture stems from my work on paper. I am inspired by the act of nature and time upon natural materials such as stone and wood. I work with marble, slate and plywood slabs. Sometimes the work is pierced through the other side which allows light to filter through. By drilling and grinding out cellular-like structures, I try to create an organic surface that seems naturally transformed."