The artist has associated with this stone found near Pompeii, a plastic film to suggest an ancient leg. The form and surface of the film create the appearance of a fragment of an ancient leg bone. By using a thin, translucent material the artist has been able to create a convincing three-dimensional form that resembles a fragment of an ancient leg bone. This creates a powerful visual impact, as the viewer is able to see the texture and detail of the bone. The artist has also used the colour of the film to create a realistic effect, making the bone look like it has been excavated from the ground.
This series juxtaposes found stones and damaged antique reproductions to create sculptural installations. I began this project as an attempt to understand and document the process of decay and to explore the beauty that can be found in destruction. This association could make think of a family of stones and art. One possibility is that this association could make one think of a family of stones and art. This could involve a family of sculptures or statues that are made out of different types of stones. Alternatively, it could refer to a family of paintings or other works of art that all feature stones in some way.
In this painting, the artist simulates his own findings by suspending a small bird skeleton in a clear plastic bag. In the foreground are a few curious eyes looking at the bird while the background is occupied by a colorful abstract landscape. The painting is designed to create a juxtaposition between the natural and the artificial. The bird skeleton is a natural object, while the abstract landscape is an artificial creation. This contrast is intended to create a feeling of tension and mystery.
The use of an old Sony screen allows to shift the diffusion of the 3D image of its time to the present. In the early days of 3D cinema, screens were not as transparent as they are now. This necessitated the use of filters that would split the 3D image in two, sending the correct image to the left and right eye of the viewer. These days, with screens that are much more transparent, this is no longer necessary. However, by using an old Sony screen, we are able to recreate the same diffusion that was used in the early days of 3D cinema, making the 3D image feel more immersive. By covering the sculpture with a gravel coating, the artist mixes art with the American road. In a sense, the sculpture then becomes like a part of the landscape, something that is not only seen but also experienced through touch.
Day and night but in an eclipse. Day and night are opposites, and an eclipse is when one thing blocks another thing. So day and night can be compared to eclipse in that way. Photography of the eclipse is impossible, so a twin of the visible is needed. There is no way to photograph an eclipse, because the sun is so bright. To get a picture of an eclipse, you would need to block the sun out, and that would be impossible to do. The moon and the sun are our two eyes. I think this is supposed to be a metaphor meaning that the moon and sun are both necessary for us to see.
He plays on the ambiguity of the sign and the material. He often makes peace with the viewer by involving him/her in his work by giving the possibility to activate it and make it work. He prefers not to say anything about his work, but to be an observer of the reflections the viewer makes having in front of it. He loves the books of Michel Foucault, Claude Levi-strauss, Claude Chambard, Claude Levi-strauss, Max Weber, Gilles Deleuze and Jean-Luc Nancy, among others. “Art is above all a question of humanity. It’s what we are, what we do, how we do it, which are the principles that we apply in our lives, these are the questions that I ask myself, the questions that I ask the viewer through my work. I intend to give no answer, just some elements to have a better under- standing of that which is left unsaid.” By passing from the letter “H” to the stone, it materializes the meaning in the Earth. The stone is a testimony from the Earth, from the first drawing by man, the one that connects us to the beginning of consciousness, this mark of man on the earth. In my opinion, the stone is the most important material for today’s artists. It represents the materiality of the world, of our consciousness, it is a link between the present and the past.
These are wooden slats placed on the wall. They are usually used to cover plaster cracks, holes, or in areas where there is a hole in the wall. It is easy to apply and decorate. The reference to minimal art is explicit, but it is also a sign towards graphs in corporate presentations. The artist asked me to make a visual of the orchids that surrounded the exhibit and that I simple envisioned as illustrations to support the project. Without being literal, I made the connection with the orchids, not just because they were there, but also because they are a very self-referential flower. The flowers alternate with the arrows. I would have liked to use another floral species for the arrows, but the choice of symbols was limited by the technologically advanced design of the product where I needed to insert it. The result is an image that works, in terms of its original purpose and shows the great versatility and versatility of the species that I use. The influence of the flowers is evident without being direct, as it complements the design by connecting with the viewer’s perception of the product. The important thing is that the result is visually attractive and appealing. The main project involved the theme of zero energy and energy efficiency in which I had the opportunity to work on two posters, a brochure and a book. The first was an event promotion poster with the name “Zero Energy House”. The objective was to disseminate the concept of zero energy and its possible applications. It was a complex project because the text was very technical, but the reader had to be attracted and seduced by the visual. The solution was to use a clean image, with a comfortable reading and a minimal amount of symbols. The inspiration came from the fact that a zero energy house is a house that is self-sufficient in terms of energy, and it is this aspect that I wanted to highlight. One of the key elements of the project was to show that the concept of self-sufficiency can be applied in a very simple way and that it is possible to have a comfortable and efficient house without the need for a lot of technology. The “zero” symbol was used as a key element to convey this message. The green color was also used as a sign of eco-sustainability and energy efficiency. The same color was used in the second poster, which had the name “Eco-efficiency”. The objective of this work was to show the viewer the advantages of using eco-efficient products and how they can save energy and resources. The inspiration for the image came from the concept of efficiency. I wanted to show that eco-efficiency is not only about using less energy, but also about using energy in a more efficient way. The image shows a person who is using an eco-efficient product in a very efficient way. The person is represented by a simple line drawing, which makes the image very clean and easy to read. The green color is used again to represent eco-sustainability and efficiency.
He seems to have had fun reproducing in drawing a photograph of a Bauhaus student. This could be seen as a protest against the design to which he was exposed and the utilitarianism these students were teaching. Meaning that he felt it was more fun to create something from a photograph, rather than just re-create the photograph. The image of a close-up of cauliflower can be seen as an abstract and artistic form. The cauliflower itself is not easily identifiable, and the close-up shot gives it an almost otherworldly appearance. The cauliflower is transformed into an abstract form, and the image becomes more about the form and texture of the cauliflower than the vegetable itself.
The sculpture is a stone that tries to take an anthropomorphic form. The sculpture is unfinished, and its features are rough and unfinished. It is unclear what the sculpture is meant to represent. The sculpture is ambiguous, and it is not clear what it is meant to represent. It could be a human, but it is not finished and it does not have all the features of a human. It could also be a statue of a god, but it is not finished and does not have all the features of a god. The material is raw and formed from the earth, which could represent the power of the god or the human. The sculpture is unfinished, which could represent the unfinished nature of humans and gods.
Double page est un livre dans un livre. Un logiciel a interprété des photographies de livres d’art afin d’en créer des versions alternatives. Hésitant entre le réalisme et l’abstraction, le résultat forme un nouveau corpus, à mi-chemin entre la répétition et la différence, le kitsch et l’invention de formes, le lisible et l’illisible. La double-page c’est non seulement les documents d’origine où on voit la reliure du livre, mais c’est aussi la récursivité d’un livre qui ne cesse de se produire et de se reproduire. La forme même du livre devient une image de ces images d’images, de cette hyperproduction visuelle où la représentation est réitérée comme un reste.
Double page is a book within a book. A software program has interpreted photographs of art books to create alternative versions. Hesitating between realism and abstraction, the result forms a new corpus, halfway between repetition and difference, kitsch and invention of forms, readable and unreadable. The double page is not only the original documents where we see the binding of the book, but it is also the recursivity of a book that keeps on producing and reproducing itself. The very form of the book becomes an image of these images of images, of this visual hyperproduction where representation is questioned.