Dark Silence In Suburbia

Saturday, August 31, 2013

Dmitri Obergfell

3 D

Long Neck Madonna, 2010.

Something about the state of being, 2011.

Four Kingdoms, 2012.

Together at Last, 2012.

DJ Screw Serra, 2010.

Millennial Boy Band, 2012.

Infinite Ladder, 2010.

Statues Also Die, 2010.

Kingdom of Ends, 2013. Saw horses, wood, mirror, crystal candle sticks, candles and wax, 30 x 42 x 44".

Kingdom of Ends (detail).

Here. Ceramic, fluorescent light, 18 x 18 x 8".

Caribou. Sidewalk chalk, 60 x 60 x 4".

Desk Lamp, 2010. Desk and fluorescent lights, 72 x 72 x 72".

2 D

Water Surface Series

Water Surface. Glicee print, 59 x 39". Ongoing series.

Wayfaring Series

Wayfaring series. Dimensions vary. Ongoing series.

Artist Statement

In my practice, I seek to explore relationships. I often work from concept to material and allow ideas to give structure to form. Through this process I examine the physical nature of my materials in relation to my concept. Like Gestalt psychology I use a sum of parts to define a whole. My end result seeks to define beauty. The beauty I seek is not solely reliant upon visual perception for satisfaction. I am less interested in producing a visually pleasing image and more interested in producing an experience that questions its comprising components. The quality of these components is determined by their relationship to their corresponding parts. When the qualities of the components are all equally important, an understanding of beauty is formed. My goal is to emulate these pre existing equations to create relationships of beauty. The synergetic correspondence between singular entities is a universal experience that is beyond my art making practice, it can be found in meaningful social situations or in the development of a precious mineral. Through my practice I hope to illuminate that beauty is not an end result but a process.


Friday, August 30, 2013

Peter Martensen

The Party, 2010. Oil on canvas, 140 x 180 cm. Private collection. Photo: Peter Martensen.

Passenger, 2010. Oil on canvas, 200 x 95". Private collection. Photo: Henrik Petit.

The Secret, 2009. Oil on canvas, 100 x 130 cm. Private collection. Photo Henrik Petit.

Blues in D Minor, 2009. Oil on canvas, 110 x 160 cm. Private collection. Photo: Henrik Petit.

Recovery, 2009. Oil on canvas, 150 x 180 cm. Courtesy Galerie Maria Lund. Photo: Henrik Petit.

The Consequence, 2008. Oil on canvas, 140 x 250 cm. Private collection. Photo: Henrik Petit.

The Lesson, 2008. Oil on canvas, 140 x 150 cm. Private collection. Photo: Henrik Petit.

Testing Freedom, 2008. Oil on canvas, 40 x 50 cm. Courtesy Galerie MollerWitt. Photo: Henrik Petit.

The Test, 2007. Oil on canvas, 60 x 80 cm. Private collection. Photo: Henrik Petit.

Blueview, 2005. Oil on canvas, 192 x 320 cm. Private collection. Photo: Henrik Petit.

Clone Members, 2000. Oil on canvas, 50 x 60 cm. Private collection. 

Elegy, 1995. Oil on canvas, 185 x 200 cm. Private ciollection. 

Before Creation, 1992-1993. Oil on canvas, 200 x 165 cm. Private collection.

The Presence, 1990. Oil on canvas, 120 x 100 cm. Private collection.

Peter Martensen

Born November 26th 1953 in Odense Denmark.
Educated at the Academy of Fine Arts in Odense 1971 - 1977 and The Academy of Fine Arts in Copenhagen 1982 - 1984.
Living and working in Hellerup Copenhagen.


Thursday, August 29, 2013

Francesco Viscuso


Chapter I

On The Pan's Way

Chapter II

Dreams and Hallucinations

Chapter III

Eaters of Shadows

Musée De La Distance

Carnival Motel


Judge Not What Is Bes By Pleasure,
Though to Nature Seeming Meet...

Black Polaroids



Collages E Non Solo...

Francesco Viscuso, born in Catania (Sicily) in November 1980, lives and works in Rome. He graduated from Art Institute in Catania - Architectural Design - and degreed in Art Criticism at the University of Rome "La Sapienza". His art ranges from the fields of painting to installation and video, however is the photography his main medium. The main themes of his work are Time, Memory and Trauma. Drama and Social Criticism are delved in his work into the Question of its relationship with Being in the World. Photography - and more generally the image itself - isn't for him the possibility of a contact with an alleged external reality, but rather "the Light of Mind, terribly Upset."

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