Spiraling Droplets by Aphidoidea

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February 24 through 28, Scottsdale, Ariz. will transform from an urbane Phoenix suburb in the desert to a place to explore the beauty and magic of water as an art form. The arid landscape is the perfect backdrop to an annual festival presented by the Scottsdale Public Art and Salt River Project, featuring 12 large scale interactive artworks by local and international artists, comprising the Canal Convergence Art + Water + Light Festival. One of the highlights of the festival will be the large scale water and light installation created by Los Angeles-based art collective, Aphidoidea.

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Aphidoidea’s 600-foot piece is titled Spiraling Droplets. It’s designed to reveal the graceful and elegant shape and beauty of a water droplet. To take that shape and create such a massive work yields a visual experience somewhat like projecting and magnifying a minute and delicate image from beneath a microscope, or like viewing a dazzling array of distant stars magnified through a telescope. In other words, taking a small and perfect idea – water droplets – and writing them large results in an astonishing work that features two water splashes, each containing 15 illuminated water droplets. These droplets grow progressively in size and shape, mimicking still-motion images of a water drop expanding. The pattern recreates the shapes and movements of water ripples and currents. Thirty droplets will float the length of the piece over the canal waters south of the Marshall Way Bridge at the Scottsdale Waterfront.

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A dream-like lighting sequence illuminates the droplets, creating the effect of natural light reflected on water. Running water, falling snow, a shower on a rainy day, and the reflections of light on a swimming pool are represented, as are larger scale water landscapes such as rainbows rising over clouds of mist and icy glaciers breaking.

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Spiraling Droplets literally and figuratively reveals the variety of shapes that water can create. Liquid, crystal, gas: these mutations that water makes have within them a wide variety of forms from snowflake crystals to softly spun clouds, wavering mist, and plummeting droplets. Many of these shapes are close to intangible to human sight, and yet we know of these shapes, and the feelings they evoke. While we may have never examined the intricacies of a snowflake with the naked eye, we know how they should look, and the wintery magic they invoke. The elegant beauty of a water droplet’s pulsating shape is again, emotionally imagined, but heretofore visually uncaptured. Spiraling Droplets allows viewers to see the process of a droplet forming and falling by a kind of stop motion technique which creates still views of that precious droplet within thousandths of a second.

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The Aphidoidea collective was entranced with the image and idea of a single droplet and its perfect transitions in shape and size – in a way, it’s wet universe contained in that single drop. It’s that vastness that is expanded and expressed at the astonishing exhibition in Scottsdale.

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Aphidoidea itself is an art, design and architecture collective that creates site-specific art installations that engage and inspire viewers while enhancing the environment. Collective members Jesus Eduardo Magaña, Paulina Bouyer-Magana, Jackie Muñoz, and Andrew Hernandez, craft art that explores and stimulates each site, through a combination of a conceptual approach, a variety of materials, interaction and perception.

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Initial site-specific installations have evolved for the collective, as their pieces have grown to include response and interaction from viewers.

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Based in Los Angeles, Aphidoidea has exhibited in the Boca Raton Museum of Art, the City of Long Beach, Inner City Arts, YMCA, in the City of Santa Monica, and at Burning Man. Recent exhibits have included installations for the Coachella Music and Art Festival, and public works at the Red Rocks College Metro Station for Denver’s Regional Transportation District and the city of Golden, Colorado. In 2010, the collective created the Icup II_Synthetic Landscape, which used 4,000 paper cups and 15,000 staples, to suspend the cups and create an entirely new spatial experience. The exhibition was held at Phantom Galleries, which places temporary installations in vacant storefronts throughout the Los Angeles area. Using the ordinary material of a paper cup, the installation took that unremarkable object and transformed it into a vibrant component of an other-worldly design, an abstract landscape that literally became alive with motion through a motion/heat sensor that activated a crankshaft to rotate the cups.

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Water is a more mutable form to begin with, and Aphidoidea’s blurring of the lines between art and technology should be a perfect match for such a shifting, enigmatic medium. The Aphidoidea team integrates skills in metal sculpture, intuitive architectural design, large scale art works, traditional art mediums from acrylics to water color, and found art forms. This multi-disciplinary collective utilizes materials and technologies such as CNC prototyping, 3D modeling, lighting, and interactive graphics.

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Whatever their methodology, the results Aphidoidea accomplishes are magical creations that fuse technology with wonder.

  • Genie Davis; Photos provided by Shoebox PR

Annie Clavel: Universes of Art

Clavell Connecting UniversesAnnie Clavel is an artist who inhabits Parallel Universes. The name of a new series of her paintings, the title is also an apt description of her philosophy of life and her art.

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Clavel is a mathematician as well as a painter, and her work reveals both a precise, mathematical balance and a preference for abstraction as she depicts a world driven by quantum mechanics and minute particles.

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Her mixed media on canvas paintings combine a variety of nuanced colors, refined brush strokes, and alternating textures. According to the artist, this approach represents “the variety of parallel universes with particles, photons, and waves.” Clavel sees one particle as being in two locations at the same time in the quantum universe, an idea which led her to create this series. In a number of paintings, creepers serve as links between each universe, and square, opaque windows reveal only blank faces between worlds.

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In Three Xs in a Red Soup, the clearly defined yellow x’s seem to emerge like living beings from a miasma of swirls and tiny, almost floral dots. Smaller, less defined red x’s appear to soar along a clear, pale yellow path, aiming for some place beyond the red world. Green shapes that look amphibian in nature cruise through what could be openings into a different space. The viewer feels almost pulled into this painting as if by the power of some centrifugal force.

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Cool whites and blues dominate Photons in the Blue, where a blue square to the center right of the piece pulls the eye. It’s the aesthetic heart of the painting, with small white and yellow shapes inside that could be figures looking out at another world rushing by. While vertical lines predominate throughout the rest of the painting, there is also what could be a Munch-like visage in white traveling through the upper left of the canvas.

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And in Connecting Universes, the gold and yellow dominant swirls are clearly delineated by curves and brush strokes of red. Two separate red sections appear about to intertwine, amoeba like – and while these rudimentary life forms are certainly brought to mind, their uncoiling touch points also evoke an entirely different image, that of Michelangelo’s The Creation of Adam, that Sistine Chapel image of God and Adam touching gone abstract.

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In Matter & Antimatter, Clavel’s art takes on an almost purely floral quality. Like purple iris, colorful blooms erupt on either side of a vast, white rift. These shapes are fluid, in motion. Much of Clavel’s works in this series depict an unknowable movement.

 

So what do these universes, these particles, their shifting and flow, mean? The viewer is left to explore what these implosions of color and form shape within his or her own mind, but the overall effect when studying Clavel’s work is to enter exquisite, imaginative, and completely foreign territory. The artist was born in Toulouse, France and lived in France, Germany, and Tunisia before moving to Southern California in 2006. In one way, the works may re-imagine the artist’s immigration from France to the U.S.; in another they are creating a mix of multiple planets, multiple horizons. A hundred sunsets swirl on the head of a pin and flow outward onto Clavel’s canvasses.

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The joy in Clavel’s work is its careful interlacing of color and form, a collision of shapes, an almost three dimensional pull that requires the viewer to do what the artist describes herself as achieving – taking “a step into the unknown.”

Clavel began this journey when she was studying mathematics, visually imagining the concepts she studied in colorful forms. She began by painting representational works in water color and acrylic. Her current abstract work is based on exploring colors, shapes, light, and movement, and how each of these elements form relationships with each other. “I let my instinct and intuition guide my work to capture the magic of the moment,” she says.

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Seeking to express what she feels about the world around her, and her own existence, Clavel in some respects shapes not only parallel universes between worlds, particles, and space, but the parallels that exist inside every person, between dark and light, happy and sad, past and present. If we can exist in spacial terms on a variety of planes, then, perhaps we also exist on different planes of emotion and intent.

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“I tend to create works that express what I’m feeling about the world and my existence, about mathematics and life, abstraction and representation,” Clavel says.

Clavel has painted for over 25 years. Recent exhibition have included the group show Chaos Theory 2 at OCCCA in Santa Ana, Bugs, Fishes & Birds at the El Dorado Nature Center in Long Beach, and juried shows at the Palos Verdes Art Center, Tang Gallery in Bisbee, Ariz., and at the AES Power Plant in Redondo Beach.

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“Life is a series of steps that you decide or that you put up with,” Clavel says. Through her Parallel Universes series, those steps may lead both the artist and the viewer into vast and unknown realms, whose magnificence unfolds with an unerring grace on canvas.

  • Genie Davis; Photos: Annie Clavel

Start-Up Art Fair: Starting Something Cool

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The Start-Up Art Fair was one of a quartet of art shows dancing across the Los Angeles art scene two weeks ago. There was the mammoth LA Art Fair at the Convention Center, the less mammoth but still large and established Art Contemporary at Santa Monica’s Barker Hangar, the small but interestingly scrappy Fabrik art fair. And there was the Start-Up. Which started up a whole new way of envisioning an art fair.

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First of all, it was held at the Highland Garlands Hotel on Franklin in Hollywood, with each room or suite serving as a de facto gallery – plus weekend accommodation – for artists. 45 artists exhibited solo in rooms or as pairs in a carefully curated show that brought together some terrific, original art in a relaxed setting.

Artists offered the glass of wine here, the home-baked cookie there, and the intimate ability to have an actual conversation about art in a relaxing setting.

We arrived in the evening, and the experience felt magical. Illuminated swimming pool, glowing room lights, open doors, laughter – and the ability to visit each mini-gallery/guest at our leisure. Here are some highlights – and some artists to watch for at future fairs and galleries.

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Heidi Cody is an Andy Warhol for today’s American consumerism. Altering brand names, colors, and illuminations, her sculptures, signs, and graphic paintings critique our consumptive culture with humor and style. Plus, who wouldn’t want a foamy Hostess Cupcake.

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Below, Stephen Whisler takes on government subterfuge, the surveillance/power/warfare dynamic, and the preponderance of military posturing in today’s world. Large scale drawings done in vermillion red and silver weapons “sleeping” in hotel room beds, compelled viewer involvement. Let sleeping missiles lie? Is Dr. Strangelove hiding in the bathroom?F23C8382

Below, Kimberly Rowe’s Happiness Calls for a Party.F23C8385

 

Bombard, Acrylic on Canvas, by Jennifer Turnage, Rowe’s suite-mate, below.

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Kimberly Rowe is a vibrant artist who describes her work as having a rhythm or musicality. She means for her materials to speak for themselves rather than in the service of a concrete and explicit depiction. The colors sing, the mixed media beg to be absorbed, touched, defined as if one could cull the meaning of a person’s heart from stroking skin.  Her work is all about perception: the perception here is of an intense and compelling artist whose medium truly is the message.

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Rowe and her suite mate, Jennifer Turnage, had soft black “eight balls” as a fun handout. F23C8389

Turnage created a group of 65 Circles, small paintings numbered to show their relationship, each circle influenced by the next.

These pieces are as vibrant, elemental, and eternal as the atom, or a single biological cell, reproducing and mutating.

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Diane Rosenblum, below, uses a spare, linear exploration in her Snap Chalk Drawings which connote forms of measurement ranging from music notes to mathematics, from computer coding to spiritual definition. It’s about harmony and infinity.F23C8403

Aline Mare’s ethereal mixed media work, below, is a study of the spiritual environment. Each piece combines scanned and altered images into a layered, poetic exploration of what could be the universe or an exploding dandelion re-imagined.

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The artist says she’s searching for a new language and “for metaphors of roots and seeds and the systems of conveyance that link plants, bodies and cities.”

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Going up? Even the stairwells at the hotel complex were art-ified.F23C8411

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Annie Seaton’s  Clean series refers to the surfing term for good water conditions, and smooth wave energy. Her surfing themes feature cut outs of surfer images, ghost-like against the shore line – utterly clean. The wave Seaton has caught soars with the vivid details of surfing culture and the already fading imprint of man on the mighty sea – rather like footprints in the sand.

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Above, Catherine Ruane’s series Look Until You See features stunningly detailed depictions of plants, so tenderly and exquisitely rendered as to create a metaphor for human life. Working on paper, she exposes her drawings to the natural environment as if the plants depicted were themselves living and breathing. So real do they seem, the viewer’s breath quickens.

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Whimsical and bright, a patchwork quilt of art, Dana Zed’s acrylic paintings were inspired by a 500 mile solo bike trip across the country.

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Nancy Willis, above, investigates images of daily life in soft, fuzzy-edged renderings that make the mundane into a visual fairy tale.

Below, Lindsey Evans Montgomery creates color prisms that reflect geometric forms, glowing rainbows, and voluptuous auras.

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Below, Gillian Keller creates glowing, quintessentially SoCal images of “Enlightenment Barbie” as a name for herself and her work. Ken better hurry and get his own ashram on. F23C8429

Mitra Fabian and Kathy Aoki create immersive sculptural pieces that take over the viewer and transport to a different time and place. Fabian, below, has created delicate, shroud-like mixed media.

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Aoki leads us into the world of a faux history museum, where “found” sarcophagi lead us into an alternate universe. F23C8434 F23C8436 F23C8435

Color, light, form, meaning, metaphor, wonder – the closest summary we can make to the StART Up Art Fair experience. Book yourself a stay next year. And take a splash in the pool of private gallery space that grows richer with every room visit.

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Above, If I Fell, Acrylic on Panel, by Kimberly Rowe, a piece absolutely juicy with color and life.

Below Kimberly Rowe and Jennifer Turnage make their room’s walk-in shower into a bouncy ball pop-up art exhibit. Their shared suite number was Room 222. F23C8394

 

  • Genie Davis; all photos by Jack Burke, photo of Aline Mare by Gary Brewer

Linda Sue Price: Neon Queen

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Neon artist Linda Sue Price mixes form and light with texture –  in pieces that are fluid, glowing, and exuberant. Price’s work is about the idea of change as the eternal constant as well as being the process of all communication.  Seen at Santa Monica’s TAG Gallery in December, Price’s work was as beautiful as it was evocative. She’ll return to the gallery with a new exhibition coming up in April 2016.


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“I was inspired by phrases that resonated with me. I got them from observing human activity, things people say and do. It seems that sometimes in the process of living, we make it harder on ourselves than it has to be,” Price says.

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“What inspired me visually was the fact that people don’t see the backside of neon signs. All the bending, the entire creative process,” Price explains.

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“I wanted to show that process, to showcase the tube itself, and the way that it can be bent, and to make that the focus.”

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As for the words Price chooses to work with, she does not capture them in neon glow. “I intentionally chose not to make them out of neon.”

The words are the background. The neon seems like a living thing the words attempt to capture.

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Price has been a neon-admirer since her childhood. She notes that a visit to Las Vegas was always special for her, because of all the neon she could see there.

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No past or future in the now…Price’s “Words” series uses some of her own favorite words.

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Price’s next show will be held at the TAG Gallery in Santa Monica from April 19 – May 14.

Go, see, glow — some of my favorite words.

  • Genie Davis; All Photos by Jack Burke