Samantha Wall Drawings Portaits Multiracial of Womens
Portland-based Korean artist Samantha Wall draws perceptive representations of women who exhibit a range of emotions and attitude. Her experience with ‘multi-raciality’ between living in Korea and now the United States inspired her latest drawings, “Indivisible” but it has roots in her previous works. Her simple yet profound drawings are the result of her own experiences and feelings. Emotional desire creates moments of hyper awareness, a characteristic specific to human nature. Wall believes that how we position ourselves in the world directly relates to our bond with others.
Sasayaki No Tsudoi” Translation: Gathering Whispers. Giant Robot celebrated Edwin Ushiro’s new ‘tra-digital’ works on plexiglass , a luminous combination of traditional and digital. Ushiro’s first trial with this technique. His unique manner of working was recently documented in Thrash Lab x Giant Robot’s artist documentary series, which played at the opening. It offered a rare insight into his private process of sketching, digitally painting, and reapplying the work onto plexiglass for final, hand painted touches.
- Was a musical prodigy who started piano lessons at six and had composed her first classical work at age ten
- Built her own computer at age 14 in 1953, before most people knew what a computer was, and won a scholarship for it
- Helped Dr. Robert Moog work on his earlier synthesizers, providing technical assistance and convincing him to give the Moog synthesizer touch sensitivity
- Her breakthrough album, Switched on Bach, won four Grammy awards, started a craze for synthesized music, and remained on the Billboard Classical Album top 200 chart for over a year
- Composed music for the movies A Clockwork Orange, The Shining, and the original Tron
- Collaborated with “Weird Al” Yankovich on a parody of Peter and the Wolf centred around the importance of oral hygeine
- In case this wasn’t enough, she is also an accomplished solar eclipse photographer
You forgot “Is a trans woman”.
陈江洪 Chen Jiang Hong
Chen uses calligraphic techniques and paints on the floor with long wolf-hair brushes. Each brush stroke is a definite, irreversible moment that cannot be changed. The compositions are made up of strong black brush strokes balanced by smoky volutes and tactile sawdust. The subjects are often oversized and blurred, as if Chen has captured a fleeting moment in time. The large-scale ‘close-ups’ have an immediate impact on the viewer, emphasising the materiality of his painting.
Chen’s work translates the vitality of nature with a rare elegance and an extraordinary energy. It would appear to embody the philosophy of Oriental sumi-e – where the aim is not to reprod
Émeric Chantier presents objects covered verdure, arms or hearts covered vegetables , fetus wearing green and lying in a crucifix grenadeun flowery, flowery skull
Jim Dingilian creates his artwork in a peculiar way: by using candle smoke to create ash on the inside of found bottles he painstakingly scratches the insides, drawing scenes depicting derelict rural landscapes. The found bottles are remnants of these landscapes that Dingilian paints with smoke, adding a nice extra dimension to his creative vision. See more below:
The porcelain dolls by Canadian artist Marina Bychkova are a provocation. They cross the boundaries of what defines a sculpture and constantly refuse to be seen as mere dolls. With 18 moveable ball-joints, the pale and vunerable looking dolls invite to be moved and posed but their often unadorned nudeness may keep some viewers from handling Bychkova’s creatures too freely. The cumbersome weight and rigidity of metal garments of the figures shown in this exhibition accentuate the delicate beauty of these porcelain dolls, acting both as a protective shell and an oppressive, restraining contraption for their little bodies.