NeSpoon, an artist from Warsaw, Poland works in several different mediums such as spray paint, concrete, macramé and ceramics, but almost always incorporates a lace pattern in her projects. She explains “What interests me in art is the expression of positive emotions. On the sensual level “Thoughts” are a study of delicacy.” Her pretty ‘graffiti’ street art could be seen throughout the streets of Poland. The Shrine was created together with Maniac in Forty / Forty Gallery, Warsaw, Poland. It incorporates lace textures, lace sculptures and lace stencils.
The bedazzling box gives the viewer the impression of a never-ending perspective as they gaze inside its small windows at the shapes and colors reflecting before them.
The amazing installation – confined to a silver hexagon-shaped ‘room’ – creates a hypnotic effect that looks far more impressive than its simple fairground mechanics, and its minuscule glittering mirrors, metal and light bulbs, that shine from green to red to gold, confuse one’s sense of space.
“Painting is about the world that we live in. Black men live in the world. My choice is to include them. This is my way of saying yes to us.” -Kehinde Wiley
Historically, the role of portraiture has been not only to create a likeness but also to communicate ideas about the subject’s status, wealth, and power. During the eighteenth century, for example, major patrons from the church and the aristocracy commissioned portraits in part to signify their importance in society. This portrait imitates the posture of the figure of Napoleon Bonaparte in Jacques-Louis David’s painting Bonaparte Crossing the Alps at Grand-Saint-Bernard. Wiley transforms the traditional equestrian portrait by substituting an anonymous young Black man dressed in contemporary clothing for the figure of Napoleon. The artist thereby confronts and critiques historical traditions that do not thereby confronts and critiques historical traditions that do not acknowledge Black cultural experience. Wiley presents a new brand of portraiture that redefines and affirms Black identity and simultaneously questions of the history of Western painting. Oil on canvas.
The formaldehyde sculpture of a white unicorn by Damien Hirst shows a real white foal, with a unicorn-like horn coming out of its head. With his formaldehyde shark sculptures, Hirst forces the viewer to look at a beast that could easily kill them, which makes some people secretly glad that the shark is dead, but here the viewer is forced to look at an animal that they would be happy to leave their children play with. The white foal has not only been bottled for the art viewing public, but it has also been made to look like a fictional character.
The 2008 work by Damien Hirst was one of the lots in the Sotheby’s auction called “Beautiful Inside My Head Forever” where the artist sidestepped the traditional gallery system to sell works directly through an auction house.
Damien Hirst said “After the success of the Pharmacy auction, I always felt I would like to do another auction. It’s a very democratic way to sell art and it feels like a natural evolution for contemporary art. Although there is
risk involved, I embrace the challenge of selling my work in this way. I never want to stop working with my galleries. This is different. The world’s changing, ultimately I need to see where this road leads.”
(His Pharmacy auction sold 168 lots through Sotheby’s, raising $20,063,528 in 2004)
German-based Cornelia Konrads creates gravity-defying works using natural materials surrounding her like rocks and branches. Whether she’s suspending a pile of stones in front of a cave in Korea or creating a passageway of floating branches in Germany, Konrads can conjure up magic all around her. Amongst a series of work she calls Piles, Konrads created Pile of Wishes, a conical accumulation of stones that lift up, break free from the group and fly high in the air.