Sunday, April 25, 2010

EMPV







Analogy for Life and Death
8' x 4' x 5'
Metal, acrylic paint, textile

Metal plates were painted. The images were representative of the artist life, so in a sense the plates were autobiographical. Then the plates were drastically cut and at each cut, welded back together. At the end the plates were little shriveled objects, with small recollection of the painted images. Three of them were placed on strange metal boxes padded with a red textile, which intrude the viewer space, invites them to decipher the plates meanings.

Friday, April 23, 2010

Shannon Tomanovich



Eskimo Kiss
1.5' x 1.5' x 2'
Concrete, foam, clay, paint, oil and clothes hangers
Spring 2010

Wednesday, April 21, 2010

Phillip Scarpone




Antipode

Steel, Branch, Sod,

5' x 4' x 8"


"Antipode" is an attempt at controlling a visually tense unstable situation.

Tuesday, April 13, 2010

Phillip Scarpone

My ideas stem from the calming capability of a simplistic object or experience. The translation of this ideal is made through limited variables with an intention to create harmonious relations. The use of natural materials in my work, soil and branches, represent the human. Commercial materials are utilized to relate to our human presence. Recently, my interest has primarily revolved around tension, both physically and mentally. Tension in my sculpture is used to initiate a pause or slow the viewer down. My primary aim with the work is to create space for the mind to breath, to spark a possible link to a previous experience, to allow mental wonder, just as subtle moments have allowed me.


"The Last Breath"
Branch, Cedar, Concrete, and Soil
5 ' x 4' x ' 6




"Fostering the Inevitable"
Branch, and Soil
2' x 4' x 2'




"Counterpoise"
Branches, Soil, and Cedar
11' x 5' x 1'


Monday, April 12, 2010

Shannon Tomanovich


Frame Story
bricks, wood, roofing
8' x 3' x 6'
Spring 2010

Saturday, April 10, 2010

EMPV





Ruedazuela

7’ x 9’ x 6’


It is hard to be invisible, but some have to. There exist human beings that, within seconds, must grab all their belongings and move to a different physical location. Where they are and to where they will move is uncertain, and movement is a consistent necessity. The land is not legally theirs, but still they sleep, eat, defecate, wash — live — in that space; and they are prepared to fight for that which does not belong to them, yet is otherwise ignored by so many of us. This may sounds like a sad, poor, sickening story—and it is—but, at the same time, it is the complete opposite; because their smiles and humility are etched into a memory and the richness within their souls is rapidly infectious. That is a reality, and that is THE only reality of many in Venezuela, in Latin America, in the World.




EMPV





El Cerro
6' x 5' x 11'

Four different systems and perspectives are introduced within this piece: geography, spatial occupation, and the living space (inside and outside). The viewer becomes an intruder while inspecting the different aspects of the piece. El Cerro is a study that portrays the structures, organization, and aesthetics of Venezuelan slums.

Tuesday, April 6, 2010