Combining his appreciation for sculpture and architecture with his interest in physics and computer science he creates c omplex ‘motion sculptures’ that dramatise the intersection between the digital and the physical.Īfter studying architecture and graphic design at The Ulyanovsk State University, Zhestkov founded two studios: Zhestkov.Studio and Media.Work. Maxim Zhestkov (b.1985) is a digital artist based in London. As physical architecture, intangible sculpture, colour, movement and sound all blend together, viewers are prompted to consider the relationship between physical and digital environments and how the latter has the potential to transform the former. Waves (2022) is an emblematic example of his ability to transform the gallery space into a hypnotic virtual world. In addition to stand-alone art films, Zhestkov has created immersive experiences, both with VR and physical installations. Unlike his grayscale sculptures, Layers demonstrates Zhestkov’s sensitivity to how colour changes the perception of shape, testament to his ever-expanding innovation in sculptural technique. As layers of vivid colour emerge, the original shape is transformed in ways unknown to our physical world. In Layers, Zhestkov opens the door to novel dimensions as black monoliths slowly start to reveal their hidden interiors. Layers (2018), Computations (2019), and Artificial Organisms (2021) are all celebrated collections by Zhestkov which manifest this conviction. Like the Constructivist rejection of realistic depiction, Zhestkov subverts the laws of physics in order to question the nature of perception and demonstrate the technical possibilities of fusing motion with sculpture.Īs well as a technical tour-de-force, his work is a social commentary on the ways in which our experience of the world around us can be radically altered, and expanded, by technology. In the work, millions of monochromatic spherical elements move in perfect synchronicity, denying the laws of gravity with compelling grace and complexity. In his Metaphysics series (2022), Zhestkov interrogates the relationship between time and digital matter. Zhestkov works by incorporating snippets of his own code into a software application for 3D animation, enabling him to create unique sculptures that unfold and grow in captivating ways. Referring to the ways in which 20th century Russian Constructivists, such as Vladimir Tatlin, used pure shapes and clean geometric lines to construct enigmatic structures, Zhestkov presents simple forms in multitudes and programs them to morph into entirely new beings. Although digitally-native, Zhestkov’s work is informed by traditional sculptural practices. Starting with basic geometric shapes – dots, spheres, and planes – he builds three-dimensional sculptures which contract and expand seamlessly, yet unpredictably, within simulated space. whether immersing entirely or embellishing a detail, the images disappear beneath expressive, spray-painted strokes of assorted colours and textures.Working at the juncture of art and technology, Maxim Zhestkov creates art films through algorithmic code. True to form, no gray space stays gray for long in Martins presence. The ashen tones of the compositions and vacant backgrounds are reminiscent of his alternative canvases, the concrete. Almost stylized, these minimal figures are constructed of a few layers of hand-cut stencils. Delicate and organic characters feature butterflies, ballerinas and animals all rendered in empty grayscale space. With as many works on walls as on canvas and paper, the relationship between vulnerability and strength remains constant in each work. In the early 2000s, this interest in layers became more literal with the introduction of stencils into his work. The same deconstructive processes can be seen in his creative influences of Jose Parla and Cy Twombly. The physical architecture of the city was a constant inspiration, the elaboration and destruction of each generation contributing to the urban infrastructure. Growing up in Oslo, Martin was an active part of the emerging graffiti scene of the early 90’s which at the time maintained zero tolerance. His works can be seen to mirror the rise and fall of the streets, as he symbolically recreates the urban environment, then vandalizes it to reveal his vibrant transformations. Over the past decade, Martin has developed an unmistakable aesthetic combining abstract movement with figurative stenciled compositions. Martin Whatson (b.1984) is a Norwegian street artist best known for his calligraphic scribbles in grayscale voids.
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |