Thomas Schütte

thomas schütte

Thomas Schütte

    Since the late 1970s—when he studied with renowned German artist Gerhard Richter—Thomas Schütte has been subverting traditional art historical genres through his eclectic output of sculptures, prints, installations, drawings, watercolors, and photographs. Schütte makes familiar forms of expression, like memorial portraiture and figurative sculpture, strange through evocative, often disturbing alterations, such as in his treatment of the female nude in his “Bronzefrauen” series (Bronze Women, 1999-ongoing) where figurative shapes morph into abstract or mutant forms, or his “Alte Freunde” series, in which the subjects’ despondent expressions highlight the vulnerability of the individual against the cruelty and complexity of the vast world. Through his work he explores the human condition, offering a critical perspective on social, cultural, and political issues and visually eloquent commentary on memory, loss, and the difficulty of memorializing the past.

    On a visit to the Konrad Fischer Galerie in 2016, Rolf Fehlbaum discovered the model of a log cabin conceived by Thomas Schütte. Fascinated by the structure, Fehlbaum asked the artist if he could imagine a full-scale realisation of the project on the Vitra Campus. In 2018, the Blockhaus became the newest building on the company premises, forming a contrast to the architectural works by other figures. On the occasion of the official opening, the artist Thomas Schütte offered insights into his work.

    The Blockhaus is a hybrid structure – both object and functional space – and the first architectural work on the Vitra Campus that was created by an artist. How does this project diverge from the approach and implementation of other buildings on the premises?

    ”I think the main difference is that I didn’t have to fulfil any expectations. If someone orders a hotdog, I can bring him a steak. Or even just a bottle of water. I am not financially involved in the realisation of the project, so I don’t have an ego problem. And I don’t have a signature style. Basically, I’m presenting an idea, and most of the time the idea is realised in a way that is ten times better than expected. But you still never know. I have good friends who are architects, and they are happy when I can work with them, because then they have a completely free hand in the project’s implementation. Normally an architect can’t do very much, because the banks and financial backers make the decisions. But the main difference still lies in the fact that I am not bound by such constraints; I can define the task myself.”

    ‘It was the most crooked, and the most unrealistic wooden bricolage that was amongst the choices. And I think the reason is, it’s so different from the other buildings that it makes some sense.’ Thomas Schütte, responding to a question from Rolf Fehlbaum, who discovered a model of the Blockhaus at a gallery.

published in : www.artsy.net

Articolo Lighting’s Nicci Green

How One Designer Is Handling Australia’s Reopening

    Nicci Green is not new to global crisis. The designer founded Australian lighting maker Articolo Lighting when the Great Recession led to the demise of her previous glassware company, Bribe. “Pretty much overnight that business wasn’t relevant anymore” Green recalls. Standing at an empty Maison & Objet booth in 2010, “I held one vase on my hand upside down and another one on top of it and joked, ‘I don’t know—we could get into lighting.’” Today, Articolo is a global brand that operates showrooms in Melbourne and New York.

    This time around, when COVID-19 began to threaten small businesses, Green took a decidedly different tack. “We approached the coronavirus pandemic with a more positive perspective,” she says. Working with long time architect David Goss, Green prepared her local showroom for reopening after lockdown with projects that include a floor-to-ceiling installation comprising 90 glass spheres from Articolo’s Fizi product line. “It shows our ability to customize our lighting for larger scales and format,” Green says.

But the undertaking also inspired her to reflect more deeply on quarantine. “I thought, ‘What are we all going to be looking forward to?’ We will want to be together.” That thought led Green to start to seek out collaboration opportunities. Soon, Articolo began to commission new creative partners with gusto. The company produced a short film with Paris Thomson of SIRAP Motion Lab, and tapped illustrator Alex Watson to reimagine the lighting collections in a series of prints. Watson now works for Articolo one day per week.

    Now, some of these projects are being shared in Articolo’s Australian showrooms, as the country began reopening its economy in phases approximately a month before its American counterparts. Simultaneously, Green is finishing up a collaboration with digital media artist Yandell Walton that will transform her reopening into a spectacular event. Walton will amplify the Fizi installation’s presence by immersing visitors in motion graphics of bubbles. “When regulations allow us to have an event of 100 people, we’ll showcase this amazing digital art piece,” Green says. “COVID-19 gave us the quiet to explore this.”

The wider Melbourne community has used that time to similar ends. Interior designer Fiona Lynch launched an open-source platform for sustainable design called Future Archive during quarantine. And Green’s fellow designer Christopher Boots is welcoming clients to a new showroom that he created with interior designer Pascale Gomes-McNabb.

    Green, who is launching three new product collections this summer and hopes to expand her business to six showrooms worldwide by 2025, thinks her response to COVID-19 will inform her professional thinking for a long time. She feels particularly confident that Articolo’s future trade fair stands will more likely resemble a Walton-like environment than past booths, for one. But Green does not advise her American peers to necessarily parrot Melburnians as they navigate an eventual reopening. “It’s got to come from the heart,” she says. “If you try to orchestrate something just to capitalize on this moment, then you have a business proposition rather than an authentic expression.”

By David Sokol

published in :  articololighting.com

Articolo Lighting’s Nicci Green

Nicci Green is not new to global crisis. The designer founded Australian lighting maker Articolo Lighting when the Great Recession led to the demise of her previous glassware company, Bribe. “Pretty much overnight that business wasn’t relevant anymore,” Green recalls.Standing at an empty Maison & Objet booth in 2010, “I held one vase on my hand upside down and another one on top of it and joked, ‘I don’t know—we could get into lighting.’” Today, Articolo is a global brand that operates showrooms in Melbourne and New York.

Paige Bradley

Paige Bradley – Sculptures in Bronze

     Paige Bradley is an American sculpture artist who gained fame for her figurative bronze works that were internally illuminated with electricity. Titled “Expansion”, the bronze sculpture depicted a woman sitting in a cross-legged position with light streaming from cracks in her body. This piece was originally photographed in 2004 against New York’s skyline, gaining international fame and putting Paige on the map.

      Paige Bradley’s (b. 1974) powerful sculptures of dynamically posed figures showcase more than just physical strength and passion – they testify to the inner strength and fortitude woven into the fabric of a person’s soul. Her own personal experiences are the starting point for Paige’s work, and she then uses her skill, intuition, and sensitivity to build these stories out into universally understood creations. The unseen and often unspoken dichotomies one encounters in life – joy and sorrow, dissonance and harmony, weakness and strength, ugliness and beauty – become powerfully alive in Paige’s sculpture, as she is an artist who has the rare ability to turn abstract feeling into three-dimensional form.

      Working in the figurative genre, Paige’s sculptures are anything but relics, antiques, or pastiches of figuration past. Rather, her works combine iconic media and uncommon skill with modern thought, philosophy, and psychology, speaking in the currency of our contemporary culture. Paige is also known for eschewing stylistic rules and parameters of any kind, which has kept stagnation far from her studio. In looking at the variety of thought-provoking work she has produced over her 25-year career, one can see how this mind set continues to serve her creative diversity: some of her figures sit strong and grounded in outdoor spaces; others float delicately in suspended compositions; others are sturdily wrapped in silk while stretching toward freedom. Although she primarily casts in bronze, Paige’s artwork also encompasses painting and charcoals, woodcuts, iron-bonded resin, aluminium, mixed media, or any other material she feels helps communicate her message.

in her own words

     “Inspiration comes from my connection to the world, my relationships with others, and my relationship with myself. I don’t need to travel the planet or hire dancers to find a muse. My individual journey is inspiration enough.Since I was nine years old I knew I would be an artist. I was drawing since I can remember and began casting my work into bronze when I was seventeen. Three decades later, I am still doing it – and I intend to never stop.”

       “As much as I try to avoid labelling myself, I am a figurative artist in everything I do. The figure to me is the perfect vehicle to communicate the human condition. My definition of success is to be a visionary through truthful and courageous artwork, work that communicates what it feels like to be alive in the world today.I keep moving my work forward by questioning, observing, looking for truth and searching for clarity. My goal is to have the courage to create what feels real, not necessarily beautiful, in order to create lasting, fine art.”

Paige Bradley

published in : paigebradley.com

Paige Bradley – Sculptures in Bronze

      Paige Bradley is an American sculpture artist who gained fame for her figurative bronze works that were internally illuminated with electricity. Titled “Expansion”, the bronze sculpture depicted a woman sitting in a cross-legged position with light streaming from cracks in her body. This piece was originally photographed in 2004 against New York’s skyline, gaining international fame and putting Paige on the map.