Santiago Lena es autodidacta. En 2000, con apenas 21 años, comienza a trabajar con la cerámica gres, investigando, aprendiendo y tomándola como piedra fundamental de su obra. Piezas que nacen de la pura materialidad la cual puede surgir de la reelaboración de otras piezas rotas o encontradas que fueron hechas a su vez con cerámica. Una obra que no es caprichosa sino que responde a un estado perceptivo y sensible donde luego los conceptos encarnan en la materia y no a la inversa. Continue reading
Think of glass in a sculptural context and, well, it’s likely that the first (if not only) artist who comes to mind is Dale Chihuly.
Glass, it seems, has a bit of a perception problem. Either it’s showy sculptural installation of the Chihuly sort, or it’s the functional stuff of everyday, domestic use (within which I include the showier utilitarian stuff). Glass is a bit either/or that way, despite the best efforts of contemporary artists seeking to expand its presence, to bridge the fecund middle ground between the utile at one end of the spectrum and the ornamental at the other. So what’s an artist to do? Continue reading
It’s been a week that my residency in grounds for sculpture is over. Looking back at my works in the residency, it surprises me how much my work has changes during such a short amount of time.
Working almost every night by lotus pond taking out a dead tree’s root, experiencing a different work schedule which was not based on what I decide to do in my studio, but it depended on what nature brought to me made me become a better observer. Continue reading
DANG! Those 6 weeks flew by!
The closing two weeks of the residency were spend grindin it out in the studio. Trying to bring together all the weird nonsense I had been collecting and playing around with. Smashing things together, sometimes just smashing things. Continue reading
Gerry Trilling’s most recent body of work, completed during a three-year residency at Studios, Inc. in Kansas City, is conversant with many artists reflecting on burdensome chapters of history through a personal lens. Continue reading
When asked their professions, painters and sculptors generally describe themselves as artists, omitting the fact that most of them do something else that actually pays the bills. It makes perfect sense. Using the shorthand of “artist” projects a sense of seriousness and dedication that otherwise might be lacking if they went into detail about chasing sheetrocking jobs and adjunct teaching here and there or whatever keeps a roof over their heads and clothes on their backs. Still, hunting up paying jobs or shorter-term “gigs” is a well-understood facet of their lives and careers as is, sometimes, the pursuit of payment after the work is done. Payment can be the larger challenge. Continue reading
Few cities do public art as well as Chicago. Place the point of a giant compass at the intersection of State and Madison, and a circle with a radius of about 1,000 yards will encompass works by Calder, Picasso, Dubuffet, Chagall, Miro, Richard Hunt, Jaume Plensa and Anish Kapoor. Through April 2018, a public installation of sculptures by artist Chakaia Booker fills the Boeing Gallery, a comfortably shaded outdoor promenade that runs the length of Chicago’s Millennium Park. These seven steel and rubber sculptures manage to remain lighthearted and invitingly interactive, though much of Chakaia Booker’s oeuvre is freighted with poignant allusions to race, class, and social mobility. Continue reading