ISAAC CORDAL

ISAAC CORDAL /// CEMENT ECLIPSES


"Strategically placed in London and other cities, Isaac Cordal's tiny figurines explore the nature of modern urban solitude.

(...) Since 2006, Isaac Cordal has been placing minuscule cement pieces on streets, sidewalks, walls and other corners of cities across Europe, exploring "the voluntary isolation of human beings" from nature. Cement Eclipses is a beautiful new 256-page anthology of images from the project, many never-before-seen, offering a thoughtful look at his tiny-big gifts to the public and inviting an exploration of their meaning in a sociocultural context.

"Cement eclipses is a research project of urban space that runs between the fields of sculpture and photography. The sculpture is used as a starting point and photography as a witness to the execution of installations for later viewing or exhibition." Isaac Cordal

Vulnerable and expressive, the vignettes in Cement Eclipses are as much a conversation about solitude as they are an invitation to examine our role as citizens and fellow human beings in a shared urban reality. "(Maria Popova for the Atlantic)


☁ ISAAC CORDAL
☁ ISAAC CORDAL'S FLICKR

SEUNGYEA PARK

SEUNGYEA PARK
Born in Seoul, Korea.

EDUCATION
BFA at Southampton Longisland Univ, NY.
MA at C.W.Post Longisland University, NY.

Lives and works in Seoul.


☁ SEUNGYEA PARK

MICHAEL REEDY

Amazing works by MICHAEL REEDY.

☁ MICHAEL REEDY

KENT WILLIAMS

KENT WILLIAMS

Kent Williams has built up a formidable reputation as a powerful contemporary figurative painter. His is a bold realism with combined attributes of abstraction and neo-expressionistic sensibilities. His work is characterized by strong gestural forms combined with areas of arresting detail, rendered with rich dynamic brushwork.

Williams’ approach to his subjects is often subjective and intense. Whether through multi-figured compositional complexity and suggestive narrative, or with the straight-forward lone human form, there is often autobiographical narrative at play. Favorite models, friends, and the artist himself all play a role in the human story of his paintings.



☁ KENT WILLIAMS
☁ KENT WILLIAMS ON LE ZÈBRE

KATE MACDOWELL

KATE MACDOWELL /// STATEMENT

We do not want merely to see beauty, though, God knows, even that is bounty enough. We want something else which can hardly be put into words--to be united with the beauty we see, to pass into it, to receive it into ourselves, to bathe in it, to become part of it. – C.S. Lewis.


In my work this romantic ideal of union with the natural world conflicts with our contemporary impact on the environment. These pieces are in part responses to environmental stressors including climate change, toxic pollution, and gm crops. They also borrow from myth, art history, figures of speech and other cultural touchstones. In some pieces aspects of the human figure stand-in for ourselves and act out sometimes harrowing, sometimes humorous transformations which illustrate our current relationship with the natural world. In others, animals take on anthropomorphic qualities when they are given safety equipment to attempt to protect them from man-made environmental threats. In each case the union between man and nature is shown to be one of friction and discomfort with the disturbing implication that we too are vulnerable to being victimized by our destructive practices.

I hand sculpt each piece out of porcelain, often building a solid form and then hollowing it out. Smaller forms are built petal by petal, branch by branch and allow me the chance to get immersed in close study of the structure of a blossom or a bee. I chose porcelain for its luminous and ghostly qualities as well as its strength and ability to show fine texture. It highlights both the impermanence and fragility of natural forms in a dying ecosystem, while paradoxically, being a material that can last for thousands of years and is historically associated with high status and value. I see each piece as a captured and preserved specimen, a painstaking record of endangered natural forms and a commentary on our own culpability.

☁ KATE MACDOWELL