I came across works by two very interesting artists last week, Nicolas Moulin who envisages ruins of mega monolithic concrete blocks in a deserted landscape while the other being Hiroyuki Hamada who designs comparatively small, vaguely futurist looking monoliths.
(Some of the many Hiroyuki's tablets that could easily come to be a parts of totem pole of a dystopian space age civilization, whose technological advancement has come at the price of erosion of memory of history and language...where technology is god. Images sourced from: http://acidolatte.blogspot.com/2010/02/hiroyuki-hamada.html?zx=883872d53fad4dd5)
Hiroyuki's artifacts that seem to draw semantic nourishment from manga, minimalism, space debris, Japanese Zen, Buddhism, God particles, Shivalingam, crustaceans, Mars and brush by closely to Nicolas's Béton Brut work that sends roots to Normandy Bunkers, Corbusier, Oplismeno skirodema, Berlin Wall, Moai, Rosetta stone, Noah's Arc etc according to me are not thriving on but are just the opposite. They are soil samples of the very ground that anchors the tree of Being, from where all these references germinate.
(Images of Nicolas Moulin's collages sourced from Vulgare one can also find an online blog recording by the artist and Amanda Crawley Jackson called Beton brut)
The ability of both these artist to have art works that spread roots through history and simultaneously come across as being so basic that it forms a part of Lebenswelt, the very ground of universality which anchors the roots of metaphysics, to be understood in equal ways by every member of the human race is according to me the true essence of their work.
Scale, texture and form, that is all to it, as wise old university stalwarts would put it, which according to me has more truth to it than the combined cacophony that we seem to have inherited from the circus that was post modernism and these two artists working independently in different circles and continents seem to echo just that. The simplicity of works is refreshing and it just looks very very sexy.
(Some of the many Hiroyuki's tablets that could easily come to be a parts of totem pole of a dystopian space age civilization, whose technological advancement has come at the price of erosion of memory of history and language...where technology is god. Images sourced from: http://acidolatte.blogspot.com/2010/02/hiroyuki-hamada.html?zx=883872d53fad4dd5)
Hiroyuki's artifacts that seem to draw semantic nourishment from manga, minimalism, space debris, Japanese Zen, Buddhism, God particles, Shivalingam, crustaceans, Mars and brush by closely to Nicolas's Béton Brut work that sends roots to Normandy Bunkers, Corbusier, Oplismeno skirodema, Berlin Wall, Moai, Rosetta stone, Noah's Arc etc according to me are not thriving on but are just the opposite. They are soil samples of the very ground that anchors the tree of Being, from where all these references germinate.
(Images of Nicolas Moulin's collages sourced from Vulgare one can also find an online blog recording by the artist and Amanda Crawley Jackson called Beton brut)
The ability of both these artist to have art works that spread roots through history and simultaneously come across as being so basic that it forms a part of Lebenswelt, the very ground of universality which anchors the roots of metaphysics, to be understood in equal ways by every member of the human race is according to me the true essence of their work.
Scale, texture and form, that is all to it, as wise old university stalwarts would put it, which according to me has more truth to it than the combined cacophony that we seem to have inherited from the circus that was post modernism and these two artists working independently in different circles and continents seem to echo just that. The simplicity of works is refreshing and it just looks very very sexy.
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