Steve Tobin
Steve Tobin
The “GLASS LANTERN HOUSE” 6w x 8d x 11h is made from 100+ year-old hand-tinted glass slides for projection. They reflect a time when every photo was made to perfection and craftsmanship was old world, made with enduring values. The house has a peaked roof like a church. All of the world’s cultures and values are contained in this house of humanity as one. With a projection bulb inside the house, you can fill a room with these archival images of a time before now.
More Posts from Caitlin-mcc03 and Others
Anastasia Savinova - Genius Loci
Genius Loci is a journey to a multitude of places, urban and rural, inhabited and peopleless, accessible and secluded. The project explores the character and the spirit of the place. Each work is a visual archive, where one picture concentrates the essence and the feeling of a visited site. Streets and mountain passes, encounters on the road and off-road are a rich source of visual information such as form, color and texture; at the same time, all the encountered environments contain something incorporeal. Ancient Romans believed that every place has a protective spirit - genius loci; in contemporary usage, genius loci refers to location’s specific atmosphere and the way it is experienced. Each work is composed of numerous photographs of buildings and landscape forms that are true and authentic for a studied area. These works balance between documentary and fiction, factual and imaginary spaces, and become keepers of the memory and the spirit of the Place.
Genius loci / RU / The other side of St.Petersburg, Collage, printed on paper, various sizes.
Genius loci / NL / 2009.
Genius loci / IT / 2011
Leticia Lampert - (de) construction
(de) construction
The city grows spontaneously. Disordered. Up and down, wherever there is space. Every style is mixed together. There is no development plan for the cities in Brazil, so they become a huge architectonic collage. It is after this perception of the city that this work was created. As a play, collages are made from disconnected pieces of houses and buildings in order to create other ones. These new buildings are strange but, even though, they seem very familiar, once it is like that our perception works. The series consists of 19 collages
(de)constructions #4, Photography and collage, 82 x 130 cm.
(de)constructions #17, Photography and collage, 67 x 100 cm.
"Is it the fear of forgetting that triggers the desire to remember, or is it perhaps the other way around?" (Andreas Huyssen, Present Pasts: Urban Palimpsests and the Politics of Memory, 2003)
thoughts on memory
louise bourgeois / aftersun (2022) / joan didion / phoebe bridgers / carmen maria machado / st vincent / lisa ko
Ghost Buildings
"It’s short of a shared tone of memory that’s left like breath on a mirror."
Lyon, France
Newcastle Upon Tyne, England
Booster and 7 studies series / Autobiography, Robert Rauschenberg, 1967-68
Rochestown Road in Rochestown, Co Cork.
The estate was originally designed by BOC Architects and built in 2008. The four homes are currently on the market for €1.24 million, 16 years after they were originally meant to be sold.
The properties have no internal work completed at all. This means, once you go inside, they are nothing more than the skeleton of the house. There are no electrical fittings, no running water and all windows are completely bordered up - some with wooden boards, others with metal.
Chiharu Shiota
"Everything I create is from a personal experience but I want to extend it into something universal." Stepping into one of Chiharu Shiota’s striking installations is like entering an alternate reality: the materials and objects feel familiar, but the logic behind the intricate web structures seem to stem from an unknowable realm. Enveloped in an elaborate web of yarn, you’re left with a subtle, indescribable imprint on the body and mind.
The Key in the Hand, 2015. Installation: old keys, wooden boats, red wool. Japan Pavilion at 56th Venice Biennale, Venice, Italy For the 56th Venice Biennale, Shiota unveiled ‘The Key in the Hand' (2015), a piece created for the Japanese pavilion. In this installation, 180,000 keys gathered through an open call were suspended from dense webs of red yarn, which linked the gallery space to two wooden boats on the floor. A photograph of a child holding a key was displayed alongside four monitors featuring videos of young children talking about memories before and after they were born. For the artist, keys are a personal object that simultaneously keeps our space safe on a daily basis and has the potential to unlock doors to new, unknown worlds. The keys dangling from thousands of red strings evoked a sense of intercon-nectedness and expansiveness, allowing viewers to imbue their own memories and associations to the familiar everyday item.
Counting Memories, 2019. Installation: wooden desks, chairs, paper, black wool. Muzeum Śląskie w Katowicach, Katowice, Poland For ‘Counting Memories’ (2019), an installation shown at Muzeum Śląskie in Katowice, Poland, the artist envisioned a network of black yarn extending from the ceiling to be a night sky, or a universe, filled with white numbers dotting the space like stars. The piece invited viewers to sit at desks (also entangled in black yarn) where they had the opportunity to answer questions and contemplate the significance of numbers in their lives: Numbers that have special meaning, numbers in the form of dates, numbers connected to personal histories. As with many of her works, the installation attempted to make visible the invisible threads shaping our inner and outer lives.
Chiharu Shiota – A Room of Memorya, 2009, old wooden windows, group exhibition Hundred Stories about Love, 21st Century Museum of Contemporary Art, Kanazawa, Japan
JoAnne Lobotsky
The work is based on a fragment of an idea and then developed intuitively and organically during the process. My work is autobiographical in that I try to express the feeling I have of the time and place I grew up in. Things being reused and repurposed as well as things being jerry-rigged were typical on a small mid-century farm. Imperfection, abjectness and roughness coinciding with beauty and a kind of humble elegance are my main goals. I use mostly scraps of fabric that have a history of use by other people and there is sometimes damage from wear or stains that I embrace. Other types of materials are used that suggest fur, bark or vegetation. I feel that my approach to this work which involves imperfection and roughness is also in some way a rebellion against our class system and economic entitlement and strives to become accepted on its own terms within its own limitations. My work has roots in the Arte Povera movement in the commonplace and worn materials I use which present a challenge to established notions of value and propriety.
What Remains, 2019, Canvas, acrylic, fabric, thread, wood, feather, bleach, paper, clothes pin, antique nails on canvas, 23 X 34.5"
Where I'm From, 2019, Canvas, fabric, embroidery, cheesecloth, micaceous iron oxide, feathers, faux fur, tatting, antique buttons. Some areas are lightly stuffed. 23 X 58 X .5"
