Hiroyuki Hamada | Untitled #56
Hiroyuki got the idea for #56 a long while ago. It must have been a little after the year 2000 or so. The image kept coming up in his sketch books repeatedly but he didn’t start working on it till 2005. Initially, he imagined it to be a simple, but confrontational piece with a clean, [...]
Yi-Hsin Tzeng | New Works
“They are too beautiful to be believed; they are too perfect to be trusted. They are so affected that I want to make fun of them. After excavating their true parts beneath the flesh, we will reconstruct another pretty and messy paradise.” Using foam not only recreates another face for figures but also reveals artist’s [...]
Karim Hamid | New Works
Karim Hamid’s images are based on the visual dialogue with the classic representation of the female figure and the male gaze throughout art history. Hamid’s work updates the visualization of the idealized female form through the distortion and transformation of the human body. Karim Hamid’s paintings function as a psychic response to an unconvincing onslaught of media [...]
Yi-Hsin Tzeng | Watermill
Read the related article about the Watermill Center in the New York Times
Cutlog Paris | October 20-24
Cutlog is a contemporary art fair in the heart of Paris, situated under the 1000 m2 dome of the Bourse du Commerce, 100 metres from the Cour Carrée du Louvre. Both an alternative and a complement to current parisian and international art fairs, cutlog is a vibrant intersection for artists, collectors, gallerists, curators and museum directors [...]
Hiroyuki Hamada | Interview
In many of your works, there seems to be a tension between three and two dimensionality. You clearly think of your work as sculpture, what is your work’s relationship to painting? I started with 2D works. I had a teacher in college who shocked me with his drawings. At the time I was a newly arrived teenager [...]
Wildly Different Things
Curated by Aureus Contemporary in cooperation with Blueleaf Gallery, ‘Wildly Different Things: New York and Dublin’ invites audiences to arrive at their own conclusions: Is shared information giving rise to global homogenization among artists’ work? Or, are artists absorbing shared information to present new perspectives and to create different means of expression—individually or collectively as [...]
