ホワイトホール Toshio Matsumoto

White Hole, 1979 by Toshio Matsumoto. See video into the post;

Christian Herdeg

Here are some light sculptures and installations by Christian Herdeg since 1978 until 2012, using neons tubes and  black lights, and combining these black lights with fluo acrylic paint which creates some beautiful soft gradients, you can appreciate this effect in those pieces into the post made in 2012 such as Magic Circle meets Square, Large Kite, Kite and Ventaglio, love them! See more;

Lichtschleuse II, 2007

Neon and argon light tubes, total length 12 m

Neon/Argon square, 2011

Neon and Argon light tubes

Magic Circle meets Square, 2012

Fluo acrylic paint, blacklight tubes

Large Kite, 2012

Fluo acrylic paint, blacklight tubes

Kite, 2012

Fluo acrylic paint, blacklight tubes

Ventaglio, 2012

Fluo acrylic paint, blacklight tubes

Neon Stage, 2011

 77 Argon and Neon light tubes, multiplex platform

Small Disc Orange / Turchese, 2006

MDF disc, paint, Ø 130 cm

Small Square Yellow / Blue, 2007

 MDF panel, paint, 86 x 86 cm Argon lightcircle, Ø 82 cm

Day and Night Passage, 2005

MDF panel, paint, 66 x 74 cm Argon lighttube, 242 cm

Floating, 1999

MDF panel, paint, 14 x 236 cm, Argon lighttube, 254 cm

Step-On III, 1978

Granite block, 8 x 84 x 100 cm, Neon lighttube

via | Nick Faust

José Dávila

José Dávila takes simple industrial, building materials with appropriated images as his medium to create works that contest the inherent qualities of modern architecture and other constructed spaces.

As Marco Scotini explains "José Dávila's artistic practice ranges from photographs to the construction of architectural models. Each time, he produces a specular duplicate of an actual piece of architecture in which the reproduction stands as a reduced, precarious and defunctionalized but versatile and open model.  

What Dávila does is create a space that portrays the architecture as such, with interventions that refute the intrinsic qualities of the constructed spaces and question the languages that define their credibility: a column that does not support, a false wall, scaffolding that is not needed and architectural models created by circumstance rather than design are some of the elements that recur in the Mexican artist's work." See more;

Promise of a better world, 2011 - Bricks, White neon light

Silent Semi-circle, 2011 - Cutted wood

Promise of a better world, 2011 - Concrete, White neon light

Untitled, 2004 - Metal plastic

Untitled, 2010 - Red bricks, neon light

Untitled, 2012 - Archival pigment inkjet print on photobase paper

Untitled, 2012 - Archival pigment inkjet print on photobase paper

Untitled, 2009 - Spray paint and found objects

Jeongmoon Choi

"Jeongmoon Choi works with thread and traces this three-dimensional line directly into volume to create illusions of perspective. The thread is coloured and used to outline or redefine the architecture of the spaces the artist invests. Drawing directly into space with her hand, the artist addresses questions about our environment, as well as about aspects of lodging and the role of nature in our urban spaces.." - Galerie Laurent Mueller. See more;

"The drawings become project or even projection of an imaginary construction that takes form in its environment starting from a line, a thread, which represents the chronological decisions of a progression in space. The transition from a plane to a volume is just as important as the comparison between interior space for living and exterior space for living." - Galerie Laurent Mueller

Labyrinth - Nulla Dies Sine Linea, 2010 - Galerie Laurent Mueller, Paris

Room in room, 2011 - “RAPID RABBIT" at Frise Künstlerhaus, Hamburg

Drawing in Space, 2011 - Art Salon, Ptuj, Slovenia

Construction, 2011 - “AMARCORD” at Gallery Fellini, Berlin

How to build a house, 2010 - MMX Open Art Venue, Berlin

Labyrinth, 2009 - Galerei Weisser Elefant - Refugium, Berlin

Sophie Clements

"Sophie Clements takes inspiration from ideas in science and experimental music, Clements manipulates time to create highly constructed objects that grow from their surroundings, producing collages that rely on chance interactions and discourse between the concrete ‘real’ and the constructed ‘unreal’. Her recent work explores the use of video as a form of sculpture, using devices including sculptural installation and video projection to deconstruct and re-assemble time and material to question the notion of physical reality in relation to time and memory." See more;

THERE, AFTER (1/3), 2011

Video triptych (part/2/3)

"There, After began as a series of concentrated discussions and research sessions with particle physicist Elisabetta Pallante and organic chemist Ryan Cheichi. The starting point for this work was ‘ Lines of Belonging’. What is it that keeps us, and our physical world together? How do we understand these connections, scientifically, personally?

From the fundamental forces that act on the physical world, to the strength of bonds between human beings, it is these invisible forces or bonds that hold us – as people, as families, as atoms and molecules – together, that this work seeks to explore. To understand and expose the strength of these bonds, ‘There, After’ shows them in their absence: The breaking of a bond and the moments that follow.

It is perhaps only in the absence of connection that we can truly grasp it’s significance. Perhaps the state of togetherness is something we can take for granted; this work explores and makes physical the consequence of that state being taken away." - Sophie Clements

Co-produced with Mo Stoebe. Sound by Sophie Clements and Dennis van Tilburg. Pyrotechnic assistance by Aoife Van Linden Tol. Additional Help by Paolo Catalano, Riccardo Puglisi.

THERE, AFTER (2/3), 2011

Video triptych (part/2/3)

OBJECT NO.2, 2010

0.57 loop  

Part of the series ‘Dimensions Variable.
Neon Light, Glass Tank, Water

EVENSONG, 2008

4:27

Lights filmed in-camera, on location in Argyll, Scotland.
Film by Sophie Clements. Sound by Sophie Clements, John Hendicott, Scanner.

Mary Weatherford

"Mary Weatherford's work for nearly a decade has been an ongoing exploration of specific California landscapes as source material for her paintings. Subjects have included cliffs in Malibu, a sea cave on Pismo Beach, and a vine cluster near the artist's studio. Using such sites as a means for repeated examination allows her to fully explore these distinctively "California" locales through an ongoing series of paintings and drawings detailing their transformation and complimenting Weatherford's concern with form, space and color.

For her new exhibition called "Manhattan" taking place at Brennan & Griffin through next October 14, 2012, Weatherford focuses her attention on New York - where she lived from 1984 - 1999. Drawing on memory and experience of sites both personally and culturally significant, these large-scale paintings explore the indelible impressions left by the city. Weatherford continues her interest in combining a range of sources to create works that explore the fidelity and vibrancy of recollection." - Brennan & Griffin. See more;