William Forsythe

World-renowned choreographer and artist William Forsythe has just unveiled his latest “choreographic object,” an old municipal market space filled with hundreds of suspended pendulums that swing in timed sequences. As visitors move through the space they are forced to duck, dodge, and dart through the rows of swinging weights (technically plumbobs) resulting in an impromptu dance. Forsythe is known for his unique blend of choreography and artwork where the viewer often becomes a participant in his interactive installations.

Titled “Nowhere and Everywhere at the Same Time No. 2,” the exhibition is located at Circus Street Market as part of the Brighton Festival, an annual arts festival in England. 

Official film by Shy Camera

Tayler Smith

I really enjoy the vivid, unnatural colours - the sense of light and luminescence is very appealing.

This is a general interest of mine - the way various kinds of light can be used to provoke various reactions or associations in a space. 

I have some catching up to do in my blogging, the next few posts are works of artists I've collected that have been waiting to be made into posts for weeks. Many of them won't be in any way related to the final project for the semester, but ones from photographers like Tayler Smith initially got me thinking about the different ways of using light, colour and space.

Vivian Maier

Photos from various photographers provoke certain emotions in me that prompt ideas that I can use in artwork. 
I often enjoy an image that is either visually appealing, or tells a compelling story. Some images can be adapted into physical ideas around the use of space, lighting, he figure, shadow and reflection. These are all characteristics of a photograph I am commonly drawn to.

Vivian Maier's photographs are largely black and white and are for the most part a series of everyday images portraying humanity on the city streets. I'm drawn to her colour images as a passage for creative inspiration

Catie Newell

Curfew, Catie Newell

Curfew is a site specific installation provoking the loss of a larger space to fleeting apparitions of darkness and memory. Simply, the work is ghosting a darkened window, made of strange and violent spacial lines embedded with candlewicks burnt away and trailing smoke true to the term curfew (rooting in the French term 'to cover the fire' - it's the time to blow out the candles and go to bed). Fleeting and vanishing (both physically and in memory) the line work is a dance between the fewest lines that can be trusted, and the imagination projected on to a darkened reality. Suspended in the threshold between the two spaces, visitors to the show have to occupy the work - literally walking through it. Formally the aim is to evoke a larger sense of space (both real and imagined) and also calling to question the passing from one space to another - where perhaps on both sides, different darknesses exist. Its implications and threat of vanishing is the unknown reality, one that seems familiar, though always unfamiliar. Curfew remains something that is there amongst us, but anxious fleeting, and aggressive, though even frightened in its own being.

David Maljkovi

David Maljkovi - Retired Form 2008-10, photo collage on paper

- reflection
- distortion
- illusion

I first thought the image was of a sculpture with mirrored surfaces that gave the illusion of transparency. Turns out that in itself is an illusion, as the image is actually a photo collage. Now you see the lines, probably cut using a stanley knife.

Alumination

Unfortunately I forgot to take a picture of the work as it looked on the floor before I had presented it.

The work was all about texture; several people noted the subtlety of it. True, as at a distance it was indistinct, though it was apparent that the aluminum foil was not completely flat.

I invited people to walk on it, to further highlight the impressionability of the material. 

 The original texture was slowly lost the longer it was left in the corridor, making it less recognisable as the inverted texture of the wall it was displayed alongside

Eileen Gray

Black Block Screen, 1923

Eileen Gray was a furniture designer and architect, and I imagine a piece like this was intended more for interior decorating than art, but artistically I appreciate the repetition of geometric form, emphasised by the lack of colour.