A comely consortium of Slave Leias gathered at Gentle Giant‘s booth this morning to pose with GG’s larger (and droolier)-than-life Jabba statue. Not pictured: legions of mouth-breathing Frito-eaters with cheap instant cameras and sweatpants boners.
Saturday night marked the opening reception of the Fantastic Contraption exhibit I’ve been blustering about. Curated by Device Gallery owners Greg and Amy Brotherton, this show focuses on man, machine and the fusion of the two.
A very happy Greg Brotherton with his work.You may have seen Greg on Coilhouse before – read Nadya’s writeup here.
Device is nestled comfortably among dozens of galleries near the ocean. The touristy neighborhood is full of art, boutiques and eateries but there’s nothing quite like Device here! The gallery has plenty going for it besides its location, too – its spacious interior is overflowing with art I’d only dreamed of seeing in one place. Where else can you see H.R. Giger hanging alongside the huge canvases of Eduard Anikonov, wander beneath the shadow of Brotherton‘s Mercury 5000 and hover over the several enhanced insects on display before getting lost in Halleux’s menagerie of characters! I even spied work by Kazuhiko Nakamura of Mechanical Mirage – one of my earliest mentions here on Coilhouse. The exhibit has a distinct zeitgeist feel, this much I tell you with complete certainty.
Sculpture by Stephane Halleux
After some time spent exploring I had the pleasure of chatting with Greg and Amy along with Nemo Gould and Stephane Halleux, whose work is approximately 98% more impressive in person. I also took tons of photos some of which are below the jump while the rest are being uploaded here, as time allows.
It will be interesting to see how a space like this does among galleries specializing in friendly still life, idyllic beach scenes and the like. Considering Saturday’s turnout, my prognosis is “just fine”. Fantastic Contraption is Device Gallery’s inaugural show and runs through September 2. Go now.
Christopher Conte is a Norwegian artist and designer of prosthetic limbs. He studied in the States and his prowess in both art and science has led him to create some of my favorite biomechanical sculptures to date. One of the outstanding aspects of Christopher’s work is how functional it looks. This is the sort of technology I imagine wandering the face of uncharted planets or carrying out assorted tasks here on Earth. Clean lines, efficient design that looks straight off some futuristic lab’s assembly line and a keen understanding of mechanics sets Conte’s work apart. I can’t wait to see it up close at the show!
A bit about Christopher Conte from his website:
After earning a BFA from Pratt Institute, he entered the prosthetics field and began making artificial limbs for amputees in New York. Combining an abiding love for sculpture, medical science and biomechanics, the field enables Chris to apply his natural talents to help others in less fortunate situations, which he still does to this day. All along, creating sculpture never escaped his deepest passion. In 2007, Chris began offering these unique pieces for sale to the public for the first time.
As promised, a look at one of the Fantastic Contraption artists, Stephane Halleux. Stephane is a Belgian artist specializing in mixed media sculpture. There’s an outstanding amount of labor that goes into each of his almost cognizant creatures, from the beginning stages of acquiring found objects to sketch concepts to actual construction. Here’s more about what Stephane does, in his own words:
I like crazy mixtures, unlikely associations, advanced technology mixed with mechanisms of long ago. I’ve always been fascinated by robotics, its advantages and contradictions. The importance of robotisation and its increasing influence on mankind. Who never dreamt of owning a robot able to do the dirty work. But where are the bounds? How far is a robot useful to men and when does it begin endangering their life ? That’s what I want to make: caricatures of robots that have gone beyond the limits, all that with a fanciful vision of the future. The future we imagined some years ago: big computers full of cables with warning lights everywhere. That’s what I like: an old fashioned universe’s future.
A few more of my favorite images, beyond the jump.
Click above for full size flier.
Brace yourselves, for today I am the bearer of grand news! Seriously, if you like art, exhibits and mechanical parts you may want to have a seat and grab the smelling salts.
On July 19th Device Gallery in La Jolla opens what very well could be The Ultimate Steam-Cyber-Cog-And Otherwise-Punk Art Show. Once you’ve collected yourselves after taking a bewildered gander at the list of names I have provided below you will know I speak the truth. And if you somehow do not, have no fear. Over the next two weeks Coilhouse will be giving you detailed looks at the work of these skilled creators. Rejoice!
Ashley Wood – Christopher Conte – D. Hwang – Eduard Anikonov – Eric Joyner – Greg Brotherton – H.R. Giger – John U. Abrahamson – Kazuhiko Nakamura – Mike Libby – Nemo Gould – Stephane Halleux – Theo Kamecke – Viktor Koen – William B. Hand – Wayne Martin Belger – Zoran Milivojevic [dear god someone please give me a link]
Naturally, at least one part of Coilhouse will be in attendance.
Passions ignite at The Crucible foundry in Oakland, CA.
Down by the West Oakland Bart station, often late into the night, one may observe mysterious flickering lights accompanied by loud explosions. If it ain’t gunshots, you can be sure some welder, sculptor or pyrotechnics whiz at the Crucible foundry is burning the midnight oil.
Founded by Michael Sturtz in 1999, this nonprofit educational hub of fine and industrial arts has attracted a highly motivated group of artists, artisans and students from all over the country. “From cast iron to neon, and from large-scale public art to the most precise kinetic sculpture, The Crucible is fast becoming the best-equipped public industry & arts education facility on the West Coast.”
Ballet star Tina Bohnstedt cruises in a vintage Pontiac (Firebird, natch).
Photo by Gary Wilson
Last year, audiences were astounded by the collective’s incendiary production of Romeo and Juliet. Their second annual “benefit fire ballet”, a decidedly ballsy interpretation Stravinsky’s Firebird, opens tonight:
[A] unique fusion of classical ballet, aerialists, acrobats, fire performers, break dancers…paired with fire and industrial arts. It’s definitely ballet with an industrial edge provided by Crucible artisans, a cameo appearance by a Pontiac Firebird, and a ballerina’s graceful pas-de-deux with a motorcycle stunt rider.
The production’s running every night through the 12th, with additional shows on the 16th, 17th and 19th. Proceeds from ticket sales will go directly towards supporting the Crucible school. All shows are expected to sell out, so if you’re thinking of going (and I know folks as far away as San Diego and Portland are making the trip) get your tickets in advance.
Sculptor Gregory Brotherton (aka Brotron) resurrects the scrap metal of old cars as new creatures inspired by mythology, pop culture and science fiction. The sculptures on his website include a minotaur, several sci-fi rayguns that remind me of Weta’s fine creations, and slightly lumbering but nevertheless Sorayama-like statue of Eris, goddess of Discord (who’s worshiped by many CH readers, I’m sure). There’s something sexy and elegant about these; they look like they could be villains in a 1930s pulp novel that takes place in the future. Thank you to Ashbet for the tip on this one!
No. 5 by sculptor/clockmaker Eric Freitas.
In the past 12 months, I’ve seen more clock bits glued in places where they shouldn’t be than I think I’ll ever see for the rest of my life. So when I received an email this morning from a stranger named Eric about “steampunk clocks,” I was skeptical. “Really? Steampunk? Clocks?” is what I said as I clicked on the link, expecting to see nothing new and believing that nothing could beat those mysterious rugged watches from Japan.
And you know what? It’s nice to be completely, delightfully wrong sometimes. Eric Freitas’ clocks completely Shocked and Awed. Every part of the clock is handmade, and they’re not just elaborate static sculptures; they actually tell time. The clocks employ calligraphy as a stylistic method, and no two clocks that are the same. On his Etsy store, Freitas describes the intensive process of creating a clock: “all of the pieces were cut out with a handheld jewelers saw, ground to shape with a flex-shaft tool, and assembled with hand-machined screws. The dial was inked by hand, then was ripped, weathered, and aged.” He’s made five mechanical clocks from scratch so far (and two using a quartz motor), and each one is more complex than the one before.
Left: detail, No. 5. Right: No. 2.
To reiterate: to make these mechanical clocks, he didn’t go out and buy a clock at the store and embellish it. He made every gear by hand and put all the gears into a mechanism that actually worked. Something that looks so Ye Olde but from another timeline, a work of art that’s also a functional machine that was assembled from scratch… I can’t call it anything other than what it is, a term that’s being used by so many and deserved by so few, a term I thought I’d never apply so reverently to something I saw this year. But I’m humbled. So I’ll say it: it’s Steampunk Art.
Andreas Hofer is s German-born artist that specializes in nightmares. Unlike much of the spooky-cute stuff on the art scene today, Hofer’s bizarre work actually makes me uncomfortable the way I wish more art could.
While Hofer works with all types of media, of particular interest to me are his sculptures. Almost toy-like, their scale exaggerated and subject matter not without humor, they are remarkably imposing and unsettling. So much so that I’m tempted to actually pinch myself to ensure lucidity.
Part of “Reich”, Acrystal, silicone, 2006
Most perfectly innocent objects can be terrifying when magnified, but Andreas’ strongpoint is twisting recognizable imagery in simple, potent ways that make the viewer cringe. He distorts things as nightmares would. This doesn’t seem to curb my desire to have his various beasts guarding my future compound – their design is just that appealing!
Many thanks to Jerem for the tip. Click below for more from Andreas Hofer.
Occasionally, while exploring the wild untrammeled frontiers of the world wide interwub, you’ll stumble across something so revelatory, so mind-bogglingly exquisite, it knocks you back several feet, clutching your head and speaking in tongues. Today I had just such an experience. Like Nietzsche who gazed too long into the abyss or Icarus who flew too close to the sun, I shall never be the same, for I have seen the cruel, implacable face of G*d:
Three examples of finely crafted deer butt alien head taxidermy, a.k.a. “assquatch art.”
Via Redneck Craft Tips by Don Burleson (the web page that cracked my poor brain open like a pistachio nut):
For centuries, families have enjoyed the camaraderie and joy of making alien heads from deer butts. Join the fun! Once you know the secrets, it’s easy to transform an ordinary deer butt into a work of redneck fine art. Let’s take a closer look at this ancient and noble craft…
All you need to create your own deer art is a styrofoam mannequin head, a fresh deer butt, a sharp knife and some glue and you are ready to get started making your own deer masterpiece.
This is indeed a disturbing universe.
Many people say that the real red neck art is the shaping of the deer anus to look like a mouth. This is the true test of the artists loving hand.
The anus can be made very simple, or you can stretch the anus for realistic effects such as smiles and frowns. In general, the leading deer butt artists concentrate on the details of the mouth.
Thank you, Mr Burleson, for exposing an ignorant city mouse like me to this rustic art form. Not since 1996 –when I fished a homemade hunting video called Mostly Squirrels out of the bargain bin at Poughkeepsie Video Barn– have I known such divine ecstasy.