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I’ve an enormous pleasure to introduce to you this month’s Artist of the Month, Slovakian-born, Tomáš Gabzdil Libertíny. I came across his work at the Exhibition Road Show in London this month. He’d exhibited his charismatic architectural sculpture, The Agreement, which like many of his other pieces, was produced with help of bees. This high profile event was full of arty big numbers and pop-up performances. Read more about The Exhibition Road Show here.
When I talked to Libertíny about his work, what struck me was the extend of his ideas in his art. The energy of his pieces isn’t just floating on top for me, I feel there is all rounded in-depth elemental balance present. The strong concept, experimental and skilful laborious qualities, manifest themselves in the objects with an aura of originality and respect. You guest right! I’m keen on his work, hence he’s my Artist of the Month!
Libertíny was born in Slovakia in 1979. In 1999, he enrolled in the Industrial Design Department at the Technical University in Slovakia. In 2001, he was awarded George Soros’s Open Society Institute Scholarship to study at The University of Washington in Seattle, where he explored painting and sculpture. Shortly afterwards, he continued his study at the Academy of Fine Arts and Design in Bratislava in painting and conceptual design. Libertiny received his MFA in 2006 Design Academy Eindhoven. In fall of 2007, he found his studio in Rotterdam where he is focused on exploring design strategies in art and science. In 2009 he was awarded The Designer of The Future during Art Basel. His works have recently been acquired by the Museum of Modern Art in New York, Museum Boijmans van Beuningen and Cincinatti Art Museum. Libertíny is also a frequent speaker at conferences and a visiting lecturer. (source: http://www.tomaslibertiny.com )
The Agreement is a fusion of artist’s planned and precise architectural structure with the several elements from the world of nature, where the main part play thousands of bees. Made in some stages, the bees and their queen had settled and lived on the structure, building what they know best, the honey-comb. This living piece was absolutely amazing to walk around for me, at The Exhibition Road Show. I felt like I was watching a theatrical performance behind the glass. I also appreciated that the well-being of the bees was considered. They had the choice to stay or go, leaving the structure through a hole, and other features included the air-conditioning of the unit. That way, the piece hadn’t become destructive, but quite the contrary. I know that this unique collaboration with bees didn’t come by chance. I discussed it with the author, and quite clearly he had became an expert not only in art, architecture and design elements but also in bee-behaviour and their pre-given, instinctive actions for survival and life creation.
It’s another example of Tomáš Gabzdil Libertíny’s work. It is made by layering square sheets of paper with wood-glue and pressing those into a something looking like a paper brick, thick paper square. The thick paper-wood-glue square object is attached into a spinning wood-turning machine, and it spins it very fast. It is shaped, shaved and filed into a vase, with help of chisels, sand paper… Very important thing is that each sheet has a print of a tree on it. As the shaving of the paper come down, reducing the thickness in some places, the pixels of the trees on the papers become exposed, and they create the decoration. The decoration is exposed on the exterior and embedded in the interior on each sheet, symbol of the deeper inner meaning. The act of repetition of elements, repetition of tasks and manipulation of the material creates a meaningful elegant and sensual object. The artist told me, that this is a symbol of spiritual and philosophical element in his work. Time consuming, labouring process of making of the object helps to create a relationship with the maker, observer…
I see the full circle of a tree in all the stages of the transformation, and in the final result. In my research about Libertíny, I came across this phrase, defining his work and studio: “ Intellectual investigations – elegant presentations.” I couldn’t agree more, looking at The Paper Vase!
I’ll be introducing Tomáš Gabzdil Libertíny’s work live in my slot Artist of the Month on Thursday, 23rd August at 12.10, featured as a part of Rosemary Laryea‘s Art and Culture Show on Colourful Radio. Amongst other things, I’ll describe another Libertíny’s piece The Vessel #1, which I saw in FUMI gallery in London. Join us here on this link, or listen to it here later, as a recording. Thanks.
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On my search for my next Artist of the Month, I’ve known that the marine life and exploration of it in the underwater sculptures of spectacular Jason DeCaires Taylor is a theme I want to get back to. What I didn’t know, was that connection with the sea will come so soon in my next artist! As it normally happens, I tend to come across my Artist of the Month on my walks in London. I was passing Royal British Sculptors Society; I’ve never visited their exhibitions before, but always wanted to. My eye caught a flyer outside. Round looking, texturized object seemed irresistible to me. I made a note in my diary, with a name. It was Edinburgh based Anne Bevan and her Ghost.
I entered the exhibition space of RBS in South Kensington. Things Unspoken (Thu, 24/05/2012 - Fri, 13/07/2012, 12 noon – 17.30) is the exhibition of two artists Andrea Roe and Anne Bevan, curated by Jane Warrilow. Both artists have presented their ideas in separate ways. Andrea Roe’s work examines the nature of human and animal biology, behaviour, communication and interaction within specific ecological contexts and Anne Bevan’s work has often been concerned with water, the sea, and the idea of ‘making the invisible visible’. I was amazed by Bevan’s works, which seems to speak to me, that’s why I focus on her today! Originality of her ideas has been refreshing and inspiring. All works in Things Unspoken are presented immaculately and I strongly recommend you see the show running until 13/07/2012. Call the gallery for more T:+44 (0)20 7373 8615 or visit their website. I talked to Anne Bevan on Skype about her work and processes.
She is a cheerful, enthusiastic, and easy to talk to person. Anne Bevan is originally from Orkney where she continues to have strong links. She is based in Edinburgh and is a lecturer in the School of Sculpture at Edinburgh College of Art. Bevan is artistically exploring hidden or invisible aspects of the environment, environmental themes (as inseparable part of everyday life), either under the ground, in the water or on the tidal edge through mediums of sculpture, video installations and photography. She told me she is interested in prototypes and models, metamorphoses of the natural movement, experiments with the textures and surfaces, explorations of new and undiscovered life, or the one which has been forgotten.
I’ll start with her work in Things Unspoken exhibition, Ghost – 3D enlarged acrylic print of planktonic foraminifer, which was made using a CT scan. It’s a single-celled organism, which forms part of the marine zoo-plankton. These can be found deep in the sea, in the sand and sedimentary rocks, as its particles. I learnt that Bevan has been able to 3D scan this particle with some help of the scientists at the University of Edinburgh. She also worked with 3D plaster and clay models of these organisms, accessing research collections of the Natural History Museum in London. From her experience, as she told me, working with the Museums and scientists is incredibly helpful, as the research centres are more than happy to assist. She finds exchange of interdisciplinary ideas and elements in collaborations very rewarding and challenging.
Bevan is in my mind a queen of collaboration. She doesn’t so much focus on working with other artists, but works with above mentioned scientists (Dr Kate Darling), engineers, designers, furniture makers, writers (Janice Galloway), musicians and performer artists, scientific glass blowers and so on. She loves to use different kinds of materials, and collaborating with the wide range of professionals helps her to bring out the full potential of those to perfection. It’s about a dialog between the people, as Bevan sees it.
Moon Pool (2 m diametre) is another Anne Bevan’s work I’m fascinated by! This public artwork was commission in Tyrebagger Forest, Abendeershire, Scotland, 2002. The ‘pool’ is surrounded by lines of poetry from the writer Janice Galloway, which from a distance, merge to form a water mark or tide line.
Process: Anne Bevan tried to make cast of water and the waves. This rather challenging thought has developed, as the best way to do this was by casting the sand directly, which is an imprint, mark of the water in many ways! I just love the originality of approaching this process! Bevan told me, that when they were trying to cast the sand, firstly by using plaster (in four pieces), the conditions had to be perfect. The low tide, the wind, it all took some time to settle and shape and finally was just right for the process to begin. I couldn’t resist asking for a photograph, when she told me that at the end of the casting, the weather has taken a bad turn, and big storm and lightening with thunder arrived! Imagine how exciting it must have been! After a few stages of casting process were finished, finally the bronze sculpture was made and positioned in the forest. I’d love to see this work in its own natural setting. Meanwhile, have a look at the photos…
Undercover (2000) was her solo exhibition at The Fruit Market Gallery in Edinburgh. The project that at first jumped out from the other works for me with its intensity of the objects’ blue colour. However, more I asked about it, more I realized I love it not only visually, but conceptually as well. I asked Anne Bevan, what are those blue wooden looking objects on top of wooden stands? To my surprize, they were jesmonite casts of old wooden water pipes! The whole Undercover project is about themes of water and where it comes from, water something we all probably take for granted is full of secrets. The new plastic water pipes these days come in blue, hence the choice of the colour for the art-works. Did you know all water pipes used to be made out of wood in pre-Victorian times?
Listen to my monthly slot featured as a part of Rosemary Laryea‘s Art and Culture Show on Colourful Radio on Thursday, 28th June 2012 at 12.10pm, where I will introduce the amazing work of Anne Bevan and find out even more.
If you miss it, don’t worry, now you can listen to it again here:
Thanks for reading and listening. If you’re interested, don’t hesitate to visit the included links to explore further. Have a good day!
I’m very excited I can introduce my next ‘Artist of the Month’, award winning Korean artist living in London, Shan Hur. I see Hur as an sculptor with a unique artistic vision. He uses concrete, wood, fine porcelain, musical instruments, basketball, and other objects, that become part of his structures – pillars, cracks in the walls, broken pillars… His outstanding sculptural installations are mostly temporary works, not in their existence, but in their position. They are moved in the space, and adapted as inseparable part of it, and when the show is over, they are moved out and kept carefully crated for next installation. (Yes, I’m talking a whole pillar being moved, a whole wall uninstalled!) They are partly inspired by neutral spaces we walk by daily, such as building sites, architectural features and places undergoing some form of a transition and partly by Hur’s background and childhood, his sense of belonging and position.
Shan Hur is a little bit of a hero to me. I think it takes a lot of confidence, to install a pillar in the space, where at first sight it looks like it belongs there, standing almost unnoticed. However after further examination of it, it simply transforms the way how we look at art, space and both combined. I admire Hur’s work, because it somehow directly speaks to me in the language that is confident and well established. His works are skilful and impeccably planned, with no space for error.
His work is mysterious and playful. Fragments of fairy-tales, archeology and history are strongly resonating when studying his pieces, but first you must find them. It doesn’t take long before you notice, something is not quite right. Alarmingly a pillar you are standing next to turns in to art. Is it perhaps broken? You may ask, but soon realizing, that a beautiful porcelain vase is set in the pillar! How is that possible?! More signs of action is on the floor, in a form of some rubble. Are these remaining pieces left there on purpose, while the creator had been trying to excavate this treasure vase out of the pillar? Is he coming back? It makes you question a lot of things, especially the process of how these works are made. (Don’t be tempted to take a crumble of the concrete on the floor back home, it is part of the work!) I was referencing an artwork called ‘Broken Pillar’ 2012, Gazelli Art House exhibition ’Bodhi’ that closes April 19, 2012 in Dover Street, London, where I discovered Hur’s art.
I found out many interesting things about his artistic vision, background to his creative soul and he also answered some questions about production of his pieces, while talking to me at No Format space, during exhibition The Function of the Oblique – Part 1, in South East London. If you are curious, you can listen to find out much more about his inspirations in my live introduction of Hur and his work on Thursday, 19th April at 12.10pm on Colourful Radio. My monthly slot features as a part of Rosemary Laryea‘s “Art and Culture Show”. If you miss it, don’t worry, you can listen to it again here (added below). I’m certainly looking forward to it! Thanks for reading and listening, and I’ll be back next month with another ‘Silvia Krupinska’s Artists of the Month’!
To find out more about the artist, visit his website for details of awards, exhibitions and his artist statement. Full page of images of his works are available to look at as well. http://www.shanhur.com/
I was pleased I could visit a studio of an artist and an art writer who I’ve been following for some time. The perfect opportunity came when I attended Fabelist’s Imprint Festival in Serpentine’s Gallery project space. I was captivated by a performance/art installation organized by invited Edible Art Movement – “Sing for your Supper – Draw for your Dinner”. I’ll talk about this in more detail later on in this article, but first I’d like to introduce Nicola Anthony. I’ll be introducing her in two ways really. Here in my blog and live on Colourful Radio on 16th Feb. at 12.10pm in my “Silvia Krupinska’s Artist of the Month”. My slot features as a part of Rosemary Laryea‘s “Art and Culture Show”. Now you can listen to the 15 min recording of the slot on Colourful Radio below -
Anthony herself exhibited at the Imprint Festival and also took part in the mentioned performance. I could copy and paste her very well written and polished Artist Statement, but I’m not going to do that. I’d like to give you my personal perspective on her work and her studio.
As I entered Anthony’s studio in cultured and busy Southwark, I could smell traces of resin in the air. It was a good sign of a busy and experimental studio, which I fully expected. I’ve known Anthony for a few months, nevertheless I never talked to her about her work in much detail, nor visited her creative hub before.
The walls are covered with textural drawings, lines, words, texts and cut-outs from magazines and papers. Under her window on the right is a desk, where she writes her art reviews and other works. The wall on the opposite side is very well lit. It’s a photography corner with two amazing glass and resin glass sculptures. There are works in progress on the floor and leaning on the walls, but the whole space is very organized and planned. The remaining wall, as I came in on my right, is full of date drawings, other textures and generally paper works dominate.
Have you ever seen the drawings done entirely with text or dates? If not, you might like to look at these experimental pieces that Nicola Anthony produced.
These are a couple of 2D examples of Anthony’s work. I personally love their texture and originality. However my personal favourites are Anthony’s 3D sculptural glass and glass resin pieces. The shape, ideas and technical finish of those are to me some of the reasons, why she deserves to be admired. Here are a couple of her small studio examples of the 3D works – which followed by this sculpture.
Before I have to move on to the amazing Edible Art Movement and it’s installation, you have a chance to look though this gallery of the rest of the photos taken on my visit in Anthony’s studio. I can strongly recommend you to visit Anthony’s website and her blog. Do follow her, she has always something informative to say, with her art and and also with her articles! I and the artist herself would appreciate any comments regarding this post or her work. Thanks.
The second part of this blog article, as you know from the beginning will be dedicated to the Edible Art Movement. This is a definition of the movement I found on one of their sites:
“The Edible Art Movement (‘EAM’) was founded in the early 1920s by a group of experimental artists, intellectuals, poets and philosophers drawn together by a shared passion for food and art.
Members sought to subvert conventional ideas of what food and art should be whilst at all times seeking to create incr-edible art. Their overarching philosophy may be summed up in their motto, recited at the start of every meeting: “We Art what we Eat”.”
My understanding of the movement is that a group of creative people put on events, that celebrate food in more than “to be eaten” sense. They underline food as a way of artistic expression, food often being the art and a catalist between the art and the audience by engaging the visitors fully in the process. The EAM underline the textures, shapes and other unsual characters of food, which might be unnoticed in an everyday life. As an example I’d like to show you a video I did, while taking part in the recent installation done in Serpentine’s Centre of Possible Studies, in the Fabelist’s Imprint Festival – “Sing for your Supper – Draw for your Dinner”.
I’m going to finish with an image of EAM’s installation but if you liked to hear more about events and exhibitions that EAM put on, you can register to be on their mailing list here. For more visit EAM Facebook page or their website. Thanks for reading my blog, and come back again!
A soundtrack from the Colourful Radio from Jan 5th, where I introduced Patrick StPaul live in my monthly “Silvia Krupinska’s Artist Of the Month” hosted by fantastic Rosemary Laryea, during her “Life and Culture show”.
I hope you had a great holiday and the New Years Eve! Have a successful 2012 dear friends. After taking a break in December, this month I’d like to introduce another fantastic artist. I’ve chosen Patrick StPaul. You can listen to the soundtrack from my Colourful Radio slot at the end of this article. Here is a short video intro before I go on writing about my meeting with the artist.
Like I say in the introduction video, I’ve met Patrick StPaul during The Other Art Fair in London. He was one of the artists presenting his work at the fair, and I was impressed by his art and his presentation of his stand. He had a number of installations positioned within a box, in a frame, under some glass domes, on a shelf or just by them selves. His work is very capturing and thought provoking. It consists of combinations of animal objects, bones, glass jars and little specimens in them and all of those are tightly connecting with StPaul’s exploration of history, nature and their dialog with the chosen objects. I felt there are many layers to his art, and with those StPaul is telling us a story. He is a sculptor, mixed media artist, story teller and a magician in my view. On the left is an example of one of his works from The Other Art Fair and below is my first interview and meeting with StPaul.
Patrick StPaul is one of those artists you can’t get bored around. His way of describing his art and his creative processes involves a set of interesting stories, often directly about his ancestors such as grandmother or grandfather, who was a pilot. There is a theatrical element in his sculptural installations, which acts as a helping tool to tell a particular story. The atmosphere around Stpaul’s work is often described by a question: Are those real? I can assure you, that yes, they are. My visit of his studio was comparable to a museum of animal skeletons and other peculiar objects. One of my favourites was a stuffed yellow chick! I think you can imagine what I’m trying to say better, after watching this little tour around StPaul’s art studio. Ready?
I think you might have guessed that I admire StPauls work. I’ll be following his career and exhibitions to come, you can do the same by following him on facebook too, or if you haven’t caught his website earlier, check it out here again or read his blog. Before I go today, I have a few images from our meeting to share with you and shortly after the live presentation on Colourful Radio, I’ll update this article with the soundtrack from it. See you soon again and thanks so much for following my blog and my next “Artist of the Month” – Patrick StPaul! All the best. Silvia
A soundtrack from the Colourful Radio from Jan 5th, where I introduced Patrick StPaul live in my monthly “Silvia Krupinska’s Artist Of the Month” hosted by fantastic Rosemary Laryea, during her “Life and Culture show”.
I met with David Roux-Fouillet at the Andipa Contemporary, in 162 Walton Street in London. After seeing his show called Morphoses, I made up my mind that he was the perfect person for me to talk about in discussion with amazing and award winning Rosemary Laryea on “Silvia Krupinska’s Artist of the Month” slot on Colourful Radio (on Nov 24th 2011 at 12.10 pm). I absolutely love his work, and I have to admit he is one of the most talented designers/artists I’ve met. If you missed the live slot, you can listen to it again here.
David Roux-Fouillet Biography
David was born in 1978, of Danish and French parentage. He received his first training from the Engelsholm Hojskole in Bredsten, Denmark, where he studied jewellery design, glass blowing and graphic design. This was followed by a degree in jewellery and object design at the Haute Ecole d’Art and de Design in Geneva, Switzerland, where he was awarded the Marsee prize in 2003. This was followed by an invitation to participate in the KUAD Artist Residency at the Kyoto University of Art and Design in 2004, where he studied fashion and space design. His most recent degree was a Masters at the RCA in London, where he studied Goldsmithing, Silversmithing, Metalwork & Jewellery. During this period, Roux-Fouillet was nominated for the Arts Foundation Product Design Fellowship, was commissioned to create an installation for the London flagship store of Harry Winston, and was awarded the
Conran Award and Theo Fennell Award for Overall Excellence from the Royal College of Art.