Studio E.O

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Studio E.O is a multidisciplinary design practice. It was founded by designer Erik Olovsson and is located in Stockholm. You can see more of their projects here.

Osma Harvilahti

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Osma Harvilahti is a Finnish photographer living and working in Paris, France. You can see more of his work here.

*All images from the artist’s website

Sannah Kvist


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Sannah Kvist is a freelance photographer and train driver.  She is based in Sweden.  To see more work, click here.

Adam Frezza and Terri Chiao // CHIAOZZA

Adam Frezza & Terri Chiao // CHIAOZZA

Adam Frezza & Terri Chiao are an American artist duo whose work explores play and craft across a range of media, including painted sculpture, installation, collage and photography. Also known as CHIAOZZA (pronounced like “wowza” or “yowza”), Adam and Terri have exhibited their collaborative work in solo exhibitions in New York and Philadelphia, in numerous group shows around the US, and in a variety of art and design venues internationally. The studio was founded in 2011 and is based in New York City.

Featured above is their Impossible Staircase, wooden sculptures, a Puzzle Painting, a Ceramic Puzzle, Paper Plants, Lump Nubbins sculptures (transformed recycled paper pulp), and Desert Plants.  The duo’s “collaboration games,” the ceramic puzzles and Virka series, are especially interesting to me.  I love the experiment of two collaborators using the same exact materials and inspiration and then, with the same goal in mind, creating something distinctly different yet complimentary.

To see more of their work, click here

*images + initial text from artists’ website

 

Now Featuring Kelley O’Leary

Kelley O’Leary uses mapping in her collage and photography based practice, reconciling personal geography with the clinical vocabulary of Google Street View and other forms of big data.

Exlcusive Print 1, In My Palm

Exlcusive Print 1, In My Palm

Exclusive Print 2, Strata

Exclusive Print 2, Strata

Exclusive Print 3, Phoning Home

Exclusive Print 3, Phoning Home

Exclusive Print 4, In the Noon Greyness

Exclusive Print 4, In the Noon Greyness

MH: How do you compile your image for collages? Are they sourced from your own photography or do you gather them?

KO: I source my images from newspapers, my own photographs and Google Street View.  I rely on newspapers and my own photographs for architectural interiors, and Street View for the exteriors. Recently I have been gathering more imagery from Street View by dropping into a place and taking screenshots. This method is particularly interesting to me because I have many questions about data collection, privacy and surveillance that I intend to address with my work.

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MH: Can you speak to your architectural references?  There’s both a neutral palette and a sort of 60-80s architectural style that  come through.

KO: I am inspired by the pastel palette of the Sunset neighborhood in San Francisco where I live, and where I collect most of my imagery. The architectural style is representative of the homes and buildings of the San Francisco streets I walk. Most of the houses in the Sunset were built rapidly in the mid-1900s in reaction to the baby boom. I am struck by the washed out colors and blue shadows of the houses that seem to fade into the dunes they were built upon.

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MH: Have you worked with other sets or architectural/geographical vocabulary? What was that experience like?

KO: I began working with this vocabulary when my family sold the house in Massachusetts where I grew up, while I was going to college in California. I made quilts from memory that mapped out my old neighborhood, and the interior of my old home. I am drawn to the way memories move through space and the distortion of reality that is created in recollection.

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MH: What’s your relationship to San Francisco? The super-compressed space of your images really evokes the density of the city.

KO: I moved here four years ago and despite my deep love for this city, I am overwhelmed by it. I am most comfortable in a place where I can see the horizon. Horizons are lost in the density of the city and at times it feels confined and congested. At the same time, I am inspired by the energy of the city and the ideas and people it brings together. We are experiencing a time when the city cannot adequately accommodate the rising demand for housing. I hope to capture the feeling of not-enough-space.

Walking copy

MH: What is your physical studio process like when assembling a collage? How much his planned and how much responds to the process of building and layering?

KO: My physical studio practice is intuitive and improvised. I give myself structure by printing and/or collecting collage material and cutting it beforehand, so I have a stockpile of imagery to work with. Then I put on music and begin laying out a composition. Sometimes I glue the pieces down immediately, and don’t determine the composition until the very end. I like the process of creating a visual problem to solve. Sometimes the collage calls for painting and drawing, and sometimes it doesn’t. I am taken by the feeling of surrendering to what I don’t know, and letting the work almost create itself.

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MH: What’s next for you in your practice? Are there any things you’ve been wrestling with or are planning to try for the first time?

KO: I’m excited about making a video collage from Google Earth Tour (KML) footage. I’d also like to try larger, 3D collage installations and explore more of the dynamic between the interior and the exterior.
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MH: How does time feature in your work?  Because you work from photographic images, there’s a feeling of seeing not only an imaginary neighborhood, but also that of seeing a multitude of real places as a multitude of times, all out of order — it feels a bit filmic.

KO: Buildings and streets, more often than not, last longer than we do. We live and travel through these semi-permanent structures everyday. Our lives change so quickly in comparison to the slower decay and transformation of the surrounding buildings. There is a layered sense of time and decay. There are infinite stories happening simultaneously, and in the city it feels exaggerated. In this condensed city, I don’t know the person I share a wall with. I don’t know their stories as they play out at the same time as mine.

I’m also interested in the imaginary, parallel world of digital environments like Google Maps. The photographs are taken at various times and stitched together, resulting in another city built digitally-a discontinuous, fractured depiction of our own.

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Naomi Okubo

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Naomi Okubo is a Japanese painter represented by Gallery Momo, in Tokyo.  About her work, Okubo states,

I’ve always cared about appearances.

The ideas for my work come from an inferiority complex and my experiences in adolescence. As an adolescent, everyone starts to care about how other people think of their appearances.

In my personal experiences, when I changed my own image, people changed their attitude toward me. they started to concern me, and our relationship became better. I also realized the power of fashion and the fear of other’s watchful eyes. I have been interested in appearances ever since.

In Tokyo, Japan, where I live, and in other developed nations, mass media provides us not only with images of created appearances, but also images of lifestyles and ways of spending our time.

We admire these images, and adopt them to create our own images, but we are overly exposed and consume these images so much, that we become confused about what is real and what is contrived. The consequence is that we become addicted to them.

Although it seems like a personal issue, it is connected to greater problems and inconsistencies in society.

In my work, I want to show my thoughts on these problems and inconsistencies taken from my personal experiences.

To see more of her work, click here.

Monica Kim Garza

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Monica Kim Garza is a Georgia-based artist whose work focuses on an exploration of the female nude.  She graduated from the California College of the Arts in 2010.  As an art history major, I love Garza’s referential inclusion of famous paintings and familiar trope in her own vibrant canvases.  Her paintings remind me of modern Gauguins, complete with vibrant colors, luscious breasts, Starbucks and iPhones.  To see more of her work, click here.

 

Lorien Stern

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The ceramic work of Lorien Stern.  ”Lorien Stern is an artist working in California. She received her BFA from California College of the Arts in 2013 where she studied painting and ceramics. She is currently living in the North Western corner of the Mojave Desert in a small town called Inyokern.”

To see more of her work including paintings, drawings, clothing and collaborations with other artists, click here

*all images and quoted text from artist’s website

LPP+ July Residency: Indira Martina Morre

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We’re pleased to announce our July 2016 resident: Indira Martina Morre. She will be working in our studio at the Minnesota Street Project Studios on some of her ongoing projects. From her website:

Indira Martina Morre’s practice is conceptually driven with a focus on mark making employed in the service of a socially relevant investigation.
Her project Passwords: Sign Disintegration (2007 – present) consists of paintings rendered in ink and graphite on smooth, gessoed surfaces. These intricately detailed, multilayered works appropriate digital symbols to examine the modification of our cognition and experience of the world in the engulfing presence of technology.

In To-Do Lists: Survival of Art Production (2014 – present) Morre redraws scanned images of notes, memos, sketches, and calendars from practicing Bay Area artists. Morre has involved herself in a timely and necessary conversation about the everyday realities of creative labor and the multiple roles artists play in order to sustain their practices.

Wallet:Desire (2015 – present) makes use of a collection of over 400 mailer credit cards sent to Morre by various banks and financial institutions attempting to snare another debtor. She alters these cards to transform them into wallet paintings and affixes them to modified offer letters that invite viewers to apply for a Wallet:Desire card of their own. This project is based in her personal experience and informed by readings such as David Graeber’s Debt: The First 5000 Years, which posits that debt is the foundation of our culture.

Morre received a BA, with a double major in Art History and Art Practice, and an MFA from UC Berkeley where she is currently teaching painting, drawing, figure drawing, and senior thesis classes. Morre is the recipient of numerous awards including The Harry Ford Lord Award and The Eisner Prize in Art. Her work was recently exhibited at The Painting Center in New York, A.I.R. Gallery in Brooklyn, Croatian Association of Artists in Zagreb, Croatia, George Lawson Gallery in San Francisco, Kala Art Gallery in Berkeley, Royal NoneSuch Gallery and Krowswork in Oakland, Green Chalk Contemporary in Monterey, Berkeley Art Museum, Berkeley Art Center, MarinMOCA, SFMOMA Artist Gallery, and Cain Schulte Contemporary Art Gallery in San Francisco.

www.indiramorre.com

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Folke Janssen

folkeFolke Janssen was born in 1979 in Helmond, the Netherlands. He is currently based in Rotterdam, working on various projects. You can see more of his work here.

*All images from artist’s website