Incision

Garrett’s recent works with stone reflect a relationship to the natural world and our impact on it. A typical work begins with a series of sketches that reveal a contrast of forces and energy inherent within the chosen materials whether stone, steel, and/or wood. In order to craft these visions into original sculptures, he must employ a combination of both current and traditional methods. His works exploit the embodied properties of form, tension, and balance within the medium and juxtaposes these to the immediate surroundings.

Garrett Strang

Helios

“Art is about mystery. It carries an unspoken message, and sculptures are timeless expressions of human inspiration, a medium for communication without words yet in every language.

The painter Georges Braque said : “There is only one thing valuable in art, the thing you cannot explain”.

My work is about bringing to life that thing one cannot explain. I hope it will speak to the viewer as an idea or a memory, engaging one in a silent conversation...”

- Philippe Mougne

Pictures of Pigment: Montagne Saint Victoire,
seen from Montbriand, after Cezanne

Vik Muniz is a world class artist, Brazilian in nationality, who works in New York. He is a leader in "appropriation art", wherein the art from one medium is recreated in another. Here Muniz takes one of Cezanne's paintings of Mount Saint Victoire and replicates it by dropping brightly colored paint pigments carefully onto a tabletop. Muniz then photographs the resulting "painting".

Vik Muniz, 2006

New York Windows
Guest Interactive Piece of Art

New York Windows is an interactive ‘painting'. On the screen at any given time is an image compiled from a combination of internet sources and digital ‘brushstrokes' programmed by the artist. However, the image is larger than the frame seen on the screen, and the areas of it that are beyond the frame are constantly being updated and revised with new information culled from the internet; by dragging the image much like one might drag an image on Google Maps, the viewer can bring these newly formulated sections into view. Simultaneously, other areas are being redrawn. The artist's programming ‘hand' is present as a persistent ghostly presence working just outside of what is visible.

To generate the images drawn from the internet, Versteeg wrote a program that chooses a word at random from a digital dictionary; this word is then submitted to a Google image search; finally, the program chooses an image at random from the pool of images the Google image search compiles. The chosen image is ‘pasted' into the composition at a location outside of the area currently on view on the screen.

The digital brushstrokes are controlled by an algorithm that varies their color, length, and style; these too are applied to the composition outside of the area on view on the screen.

Siebren Versteeg, 2008