George Tooker was an American figurative painter. His works are associated with Magic realism, Social realism, Photorealism and Surrealism. His subjects are depicted naturally but the images use flat tones, an ambiguous perspective, and alarming juxtapositions to suggest an imagined or dreamed reality. He did not agree with the association of his work with Magic realism or Surrealism, as he said, “I am after painting reality impressed on the mind so hard that it returns as a dream, but I am not after painting dreams as such, or fantasy.”
Boris Indrikov was born in Leningrad in 1967 and lives and works in Moscow. From 1991 to 1997 he was a book designer and worked as an illustrator for the popular science magazine “Chemistry and Life”. He has been a member of the Creative Union of Artists of Russia and The member of the International Federation of Artist ( IFA UNESCO) 1998.Has exhibited works at a number of shows in Russia and abroad (Art-Manezh 2002, 2003, 2012, ART-Salon 2007, Art Fair Tokyo 2013, Venezia 2014 and others). He currently works in painting, graphic design and small-form plastic. He works mainly in fantastic realism. His pictures are in the D`VASKO gallery (Russia), HORIZON gallery (Netherlands), and private collections in Russia, Sweden, Italy, Germany, France, Switzerland, Japan and the United States. Less
… Picture – is a door into a parallel world. That is a world where all things are different. There are other laws, other lines and shapes.
This is my world. Maybe I came from there and I will come back …
… You took brushes and paints, came up to a canvas – from the other side of the canvas somebody has already looked forward to your first stroke, this is like a snake biting its own tail. By creating a picture, you complete another CREATION cycle of this world.
… Artist – is a mysterious creature, “God’s pipe”, agent, He is vibrating because of stream of information which is flowing through him. “… And he was trembling like a needle in the compass…”. There is feeling of creative itch and impatience, unembodied pregnancy, pangs and doubts about things that you have done, and, at the same time, you are full of pleasure from the process in itself.
It’s kind of the artist’s living…
2012 ART INTERNATIONAL Zurich 14th International Contemporary Art Fair, Switzerland
2012 Affordable Art Fair Brussels
2013 Art Fair Tokyo 2013
2013 Stars with Stars. Gall’Art Roma artists at “Estate Romana” – Isola del Cinema
2013 International Contemporary Art Show “Kaleidos”. Sant’Oreste Roma Museum
2014 VENEZIA, Galleria di Palazzo Priuli Bon . (July)
2015 35×35 art project – Copelouzos Family Art Museum (Grèce)
Matsumoto’s artwork reflects the morphological transformations of our ever-evolving ecological milieus that are attributed to a multitude of spatio-temporal phenomena influenced by socioeconomic and built environments. They are created as visual commentaries on speculative changes in notions of societies, cultures and ecosystems in the transient nature of shifting topography and geology.
The artwork explores the hybrid technique combining both traditional media (ink, acrylic, graphite, and photo collage) and digital media, manifesting the collective recognition of a multiplicity of epistemological viewpoints in all cognitive dimensions of spatiality.
The varying scale, juxtaposition of biomorphic forms, intertwined textures, oblique projections and visual metamorphoses are employed as the multi-layered drawing methodologies to question and investigate the ubiquitous nature of urban meta-morphology, the eco-political reality of the Anthropocene epoch, the advancement of biomaterial technologies and their visual representation in the context of non-Euclidean configuration. Furthermore, the application of these techniques allow the work to transcend the boundaries between analog and digital media as well as between two- and multi-dimensional domains.
His compositional techniques imbue the work with what we see as the very essence of our socio-cultural environments beyond the conventional protocols of architectural and artistic formalities, and that they conjure up the synthetic possibilities within which the spatial and temporal variations of existing spatial semiotics emerge as the potential products of alchemical procedures.
Ryota Matsumoto is a principal and founder of an award-winning interdisciplinary design office, Ryota Matsumoto Studio. He is an artist, designer and urban planner. Born in Tokyo, he was raised in Hong Kong and Japan. He received a Master of Architecture degree from University of Pennsylvania in 2007 after his studies at Architectural Association in London and Mackintosh School of Architecture, Glasgow School of Art in early 90’s. Matsumoto has previously collaborated with a cofounder of the Metabolist Movement, Kisho Kurokawa, and with Arata Isozaki, Cesar Pelli, MIT Media Lab and Nihon Sekkei Inc. before establishing his office.
He presented his work for the 5th symposium of the Imaginaries of the Future at Cornell University in 2017 and currently serves as an adjunct lecturer of Transart institute, University of Plymouth.
His current interest gravitates around the embodiment of cultural possibilities in art, ecology, and urban topography.
With stunning cinematography (and no CGI), director Oscar Hudson pays homage to Japan’s social phenomenon of ‘Hikikomori’.
A dreamy, disconnected electronic beat plays as a Japanese teenager wakes up in his bedroom, visibly troubled at the thought of facing the day ahead of him. But there are tricks at play, as he walks through the door, only to find a replica of his bedroom ahead, and of him too, staring into the mirror. And then there is another, and another, till we see a series of bedrooms and the boy in it – only the room appears to be becoming smaller and more crowded as the boy gets bigger.
This linking of the psychological and the physical space plays as the perfect foil to British music producer Bonobo’s inspired number No Reason. Director Oscar Hudson mines the Japanese phenomenon of Hikikomori – when young people find themselves overwhelmed and end up as housebound recluses. According to the government, the number of hikikomori between the ages of 15 to 30 in Japan in 2015 numbered some 540,000.
The cinematography No Reason is inspired by the 2014 Oscar-winner Birdman. The vocals by Nick Murphy (also known as Chet Faker) contribute to the dream-like sequence and the feeling of overwhelming monotony. “We achieved the film using only in-camera physical effects and we designed an entirely new way of moving our miniature camera to get it to fit through the tiny doorways. Doing this film with CGI would have been a thousand times easier, but for me, it’s physicality and imperfections are what make it different, and, I hope better,” said Hudson.
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