Shigeo Fukuda / Fukuda San (1932 – 2009)
In the video below, Shigeo Fukuda’s sculpture appears as an assembled mass of welded forks, knives, and spoons. Eventually, the shadowy form of the intended work unveils itself and leaves a glimpse of Fukuda’s concept.
That’s what New York City based artist, designer and technologist, Joshua Davis says about himself on twitter. But he’s selling his bio a little short. Davis uses unprecedented techniques and creates work that is 100% original. Davis’ work is inconceivably intricate and unique. So much so, that a highly trained craftsman or programmer couldn’t re-engineer his designs no matter how hard they tried – Davis’ artwork is the digital equivalent of a snowflake.
In order to create work at this caliber, Davis pioneered an art making process known as “Dynamic Abstraction,” which generates artwork from Flash-based computer programs. Davis writes these computer programs based in Chaos Theory, which then execute random patterns of his hand drawn artwork. Davis calls this process, “Computational Design,” and he names his body of work “Tropism,” which is defined as the innate tendency of living organisms to move or grow without cognitive thought.
One of the biggest artistic influences for Davis is Jackson Pollock. Davis said, “I like Jackson Pollock. I don’t necessarily like his work, but I like Pollock as an idea.” The resonating idea is that Pollock’s paintings aren’t derived from a concept nor deliberate control of the paint or brush. Pollock (and Davis) initiate and “own” the finished work that they create, but the artists are only vehicles for the chance and movement that they cannot control.
“Tropism” at it’s best.
Following Pollock’s example, Davis loses control when he makes his art. In return, both artists make original, unrepeatable pieces. Davis’ computational design programs are randomized and unencumbered with very little restrictions, so the programs generate visual products of pure chance. Pollock’s fortuitous paintings are also produced by unplanned movements with limited controls such as the canvas frame, media, pigment color, and time duration.
When making artwork, Davis plays three roles – “the programmer, the designer, and the critic.” The critic, he says is the hard part because he’ll sometimes run a program 300-500 times before arriving at the result he wants. He mentioned running a program for 2 weeks before he saw the perfectly rendered design of his liking – a final result that “suspends chaos in a state of harmony… like waiting for that beautiful accident.”
I.M. Pei-designed contemporary art museum, MUDAM has a new solo exhibit, dubbed “Archimedean Point” featuring Hungarian artist Attila Csörgö. Csörgö work explores the intersection of science and art, where experiments turn the immaterial and unimagined into physical forms. Archimedes would be proud of Attila’s “designs” which are innovative sculptures based in science, physics and mathematics. “Archimedean Point” is curated by Kati Simon (Ludwig Múzeum Budapest). Photos are courtesy of MUDAM and Attila Csörgö.
This video serves up a tasty dish of semantics by English writer, journalist, comedian and actor, Stephen Fry. Although this work takes aim at pedants, they too will enjoy Fry’s savory prose. Rogers Creations animates Mr. Fry’s words through dynamic typography which gradually assembles into a single word.
I found Stephen Fry’s video from a blog post by the wildly talented DKNG. If you don’t know what good design is, take a look at DKNG (Dan Khulken / Nathan Goldman) for the paragon of leading design.
“The Crowd,” (USA, 1928, 98 minutes) directed by King Vidor is a timeless silent film that explores the pursuit of the American Dream in the early twentieth century. “The Crowd” begins on July 4th, 1900, which is noted as the 124th birthday of America as well as the birthday of the main character, “John Sims.” The landscape of America is changing in this era – white-collar work is on the rise, diverse ethnic groups are beginning to co-mingle and more people are moving into urban environments and starting families. “The Crowd” has two central and matrimonially bonded characters. The male lead, “John” is played by actor, James Murray and the other main character, “Mary” is played by the King Vidor’s wife. These characters are a believable representation of a young married couple living in New York City. “John” represents a white-collar family man whose plight in the film still resonates with the patriarchal modern men of today.
Sydney based artist, Brad Eastman, aka “Beastman” is one of Australia’s most widely recognized emerging artists. His distinct graphic aesthetic uses bold, saturated colors outlined with heavy black strokes. Beastman’s refined technique depict monstrous creatures reminiscent of a child’s imagination. Many of Beastman’s creatures stare back at the viewer with open eyes and razor-toothed mouths ready to devour.
Dalton Ghetti has perfected his craft of micro-sculptures and generated a viral email campaign with his work. However, after you view his artwork and then perhaps paid it forward by writing a blog post, tweeted or forwarded it on to a friend, is there an answer to the quintessential question every artist faces… “What’s the point?”
In Dalton Ghetti’s situation, the answer might be hiding in the point of a #2 pencil, but after close inspection, I have yet to find any meaning beyond the tenor of those “artists” who can write your name on a grain of sand.
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At the Norton Simon Museum, Pasadena, CA, there are many bronze sculptures depicting women. These sculptures aren’t representative of a specific woman such as Mary Magdalene or Mother Teresa. Instead, the Norton Simon female sculptures offer specific viewpoints about the female form as a concept. When we investigate the concept of the female form, questions arise such as, What is femininity? What defines the female form? What is “woman”?
Graciously, the bronze female statues at the Norton Simon Museum offer various viewpoints to these questions.