Title Design

// April 13th, 2012 // View Comments // b-inspired, b-scene, featured

Have you ever watched a film and thought the title design was more impressive than the actual story? Title designs are one of those lovely hidden extras in which the feel can make or break a film and the audiences interest. Lets not forget the credit sequences either which can be just as impressive…

Take for example the Sherlock Holmes credit sequence. Created by Prologue Film it can’t be denied that their approach and finished piece is simply stunning. A mix of photography, texture, illustrations, calligraphy and animation it seems to push all the right buttons and is a credit to building on the edgy and fun interpretation of the classic character of Holmes.

More recently the oil-drenched sequence creation for The Girl With the Dragon Tattoo (Blur Studio) emphasises the surreal nature of the book and film in a series of montage imagery alluding to particular moments in the trilogy that would make for striking visuals. Taking a different approach to Holmes, 3D scans and digital rendering compliment an eerie soundtrack in bringing the story to life.

Two different approaches but two fantastic outcomes. The next time you are in the cinema why not stick around that little bit longer to see if the credits hold any hidden delights?

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Paper Boat Creative

Wild and Wonderful Winter Art

// December 19th, 2011 // View Comments // b-inspired, b-scene, featured

Baby, it’s cold outside. For centuries, the harsh beauty of wintry weather has inspired artists. Here are our favourite winter artworks.

Avalanche in the Grisons Here, Turner shows us the awesome power of winter. Tonnes of snow cascade down the mountain, ripping up trees and smashing boulders. The pine trees give us some idea of the scale of the avalanche. Turner is well known for his depictions of the sublime, extreme forces of nature, which I explained earlier. The snow is moving at such a steep angle that it looks as if it’s coming directly out of the sky, about to crush the viewer. A stimulating antidote to twee winter scenes.

Piss Flowers When it snowed, Helen Chadwick didn’t roll snowballs or build snowmen. She made sculptures. Chadwick urinated into deep snow and made casts of the melted spaces. It’s a rather disgusting methodology, immediately bodily. But the resulting forms are abstract and beautiful, like alien fungi or underwater growths. Even if you don’t how they were made they’re recognizably organic. A great example of how art can make the familiar strange.

Blotter I’ve been a fan of Peter Doig ever since his 2008 exhibition at the Tate Modern. Doig is fascinated by reflections in water and ice. This painting shows a typical Canadian winter scene. See more here. But Doig puts his own unsettling twist on the composition. Off-kilter horizontal lines dominate the composition, with clashing patterns in between. There’s no easy place for the eye to ‘rest.’ The horizon is also unusually low, forcing our attention on the lake. Although the boy appears to be standing on the lake, ripples run out underneath him. Is the ice solid? Is the boy about to fall through, or could he be walking on water? Doig’s paintings toe the line between fantasy and realism, so anything is possible.

Reverend Robert Walker Skating on Duddingston Loch Clearly, Rev. Walker takes skating very seriously. No slipping or flailing for him. He skims along in perfect balance, arms folded in, looking off into the distance. The indistinct wilderness in the background emphasizes the precision of his clothes and movement. Henry Raeburn transforms the fun and comical act of skating into a controlled meditative exercise. Guardian critic Jonathan Jones wrote that this reverend represents the Scottish Enlightenment, the triumph of Protestant reason over Catholic superstition.

Lavacourt Under Snow What colour is snow? You’d probably say white. But in this painting, Monet shows us how colourful snow can be. Amazingly, there’s no pure black or white here. Instead, Monet uses blues and pinks and greens to pull out the different tones and shapes of a country snowscape. His impression of the frozen Seine, the bleak sky and shuttered cottages make the viewer feel cold over a hundred years later.

Do you need seasonally-inspired artwork? You can have a piece before springtime when you Brief the Exchange.

Hired? Absolut-ly!

// September 28th, 2011 // View Comments // b-inspired, b-legendary, b-scene, featured

I think it’s fairly safe to say that everyone who has ever had a job interview will always remember THAT question.  And by this I mean the one that induces the sweating/stuttering/speechlessness resulting from the thought, ‘I really have no idea how to answer this’.

For me, this question was, ‘If you could hire any brand to represent you, which would it be and why?’ and my answer constituted a great deal of mumbling, several ‘ums’ and a fair few ‘ahhs’, before I came to the swift realisation that I would have to settle with a defeated smile and an attempt at some form of light-hearted humour.

If I were to be asked the question again now of course I would reply – with an air of smug self-satisfaction – that the brand would be Absolut Vodka (and no, it’s not because I am a university student and have a particular fondness for the product…)  

Why?

Absolut is…CREATIVE

As the tagline states, ‘It all starts with an Absolut Blank’ – but it is clear that Absolut’s newest marketing campaign did not stay that way for long.  Launched in July 2011, and comprising of 18 artist collaborations from a variety of different specialities including drawing, painting, print-making, film-making, sculpting and digital art, the Absolut Blank campaign seeks to ‘inspire artists all over the world by turning their iconic bottle into a blank canvas to be filled with creativity’.  Among the artworks are collage imagery by Mario Wagner, light installations by UVA, colourful graphic design by Aesthetic Apparatus, paintings by Dave Kinsey and mural work by Good Wives and Warriors.  Adam Boita, Marketing Manager at Pernod Ricard UK stated, ‘We brought together artist collaborators from a variety of disciplines and watched the journey from pure white canvas to exceptional pieces of art. The result depicts how artists and creativity are inspired through Absolut’. Watch the TV advert here.

Absolut is…INNOVATIVE

Last week, the company launched its free Absolut Blank app for iPhone 3GS, 4 and iPad2.  Using the camera and microphone, the app creates images and sounds inspired by the content that it has been fed with by the user – to produce an evolving piece of art.  The creation can then be uploaded to the Absolut Blank App Gallery and shared with friends on Facebook.  As Mark Hamilton, Global Marketing Director at Absolut, asserted, ‘The Absolut Blank app is both highly innovative and very addictive, it really changes your surroundings’. Want to see for yourself? Download it here and let us know what you think!

Absolut is…COMMITTED

This is not the first time Absolut has turned to artists when it comes to marketing campaigns. The company has a long history of dedication to contemporary art, with Andy Warhol (a teetotaller, he allegedly used Absolut as cologne!) being one of the first artists to paint for the brand in 1985.  According to Anna Malmhake, Vice President of Global Marketing, ‘It’s not about temporarily sponsoring something for one year, it’s 30 years of history’.  And, as a way of demonstrating this long-term commitment to creativity, the Absolut Art Award has been in existence since 2009.  Malmhake described the annual €30,000 prize as a small way for Absolut Vodka to show their gratitude to the world of contemporary art, presented to ‘an artist that we think is doing something really new and exciting and pushing the boundaries’.

It is at this point, of course, that I’m given a pat on the back by my interviewer for giving an excellent answer to such a tricky question.  Either that or I’m showed to the door and sent in the direction of Stockholm, the location of Absolut’s head office…

Looking for original artwork for your latest campaign like Absolut?  Submit a brief to the Creative Services Exchange today!

Hugh Byrne – Clouding the division between dream and reality

// September 23rd, 2011 // View Comments // b-scene, featured

Hugh Byrne is a UK-based artist, known for creating unique and distinctive pieces using photomontage techniques.  Employing Photoshop as a tool to manipulate his images, Hugh successfully blurs the distinction between the real and the imaginary – his inspiration deriving from his own dreams and an interest in science.  Currently Hugh works as an artist for SNAP, a project which seeks to engage disadvantaged young people with creative art.  Hugh is a new member of b-uncut and this week’s featured artist in the b-uncut “Special Exhibition” gallery.

 What was your very first artwork?

I created my first piece of artwork when I was in the Infants’ school, around the age of 7 – well, it’s the first one I can remember. I drew a dinosaur-lizard type creature.

Which is your favourite piece?

My favourite often changes and is usually the most recent one I’ve completed.

What inspires you?

The life around me is a strong source of inspiration for my art. A third of our lives we spend sleeping and I like to tap in to that world to see other states of mind, other ways of being and capture in my work different conceptions of time.

Tell us about your methods? When did you first start using Photoshop?

I started using Photoshop in 1998. Previously I spent ten years working primarily in photo-montage, with equipment as basic as scissors and glue that went alongside my duties as the darkroom supervisor in 33 Arts Centre, the first place of its kind in Luton. Comparing the work I did with montage techniques of the past to what I am able to achieve in Photoshop today, the quality looks remarkably similar; the developments in digital media have not in any way lessened the impact of my pre-digital artwork of yesteryear.

What memorable responses have you had to your work?

Some time ago I did a photo shoot for a local man who was ready to journey to the US to become a Bounty Hunter. The photographs I took have since been around the world, all the way to The New York Times. Now thirteen years later, the Bounty Hunter is back and we are working together once more: I have recently directed him in a photo shoot to produce stills and artwork for the release of his new book. Alongside this, I have arranged for him to meet a film crew to shoot footage of an episode from his life, for which we have the use of three helicopters in the itinerary.

What do you think is the artist’s role in society?

I believe an artist is very important to the functioning of any society. From my own personal experience as a community artist, I helped start a project over thirteen years ago that incorporated arts, painting, filmmaking, photography and set design; the project is still going strong to this day as a branch of Luton Community Arts Trust under the name of SNAP. With the help of other artists I am able to work with young, disadvantaged individuals by providing them with a safe and creative place to be in and a friendly and welcoming environment. From my time with this innovative community project, it is clear that being creative – and being encouraged to express one’s creativity – is incredibly therapeutic and benefits mental well-being. I find it helps people think and allows them to be in a position to make more positive decisions in life.

And finally…most embarrassing moment?

I was travelling from Luton in to London to take photographs in the Natural History Museum. On leaving it was quite chilly, so I made the journey in a large coat. Then came the time to travel on the underground, which was very warm in the first place but with my big coat it wasn’t long before the sweat began to pour. I had a magazine in my hands to read away the time – what I didn’t realise was that every time I wiped my brow with my hand, I was wiping the ink from the magazine over my face. People’s reactions to me were very strange to the point of madness, until I got home and looked in the mirror: I laughed my head off…. I looked like Rambo’s camouflage!

To find out more about Hugh’s work with SNAP, visit the website www.snap33.co.uk.

How does a digital-age art lover visit a museum? There’s an app for that

// September 15th, 2011 // View Comments // b-inspired, b-scene

Museums have been developing new ways to make exploring exhibitions more interactive, educational and collaborative.  Sure, we’ve all used headsets to listen to audio guides, but now, with smartphones and the gamification of social media, museums are getting more involved.  The modern museum experience extends to gaming, augmented reality, social media and even a meet-up service for visitors.

Gamification

Do you ever skip the permanent collection at museums and go straight to the most recent exhibition?  Well, now there’s a way to spice up the experience of visiting the permanent collection.  The Tate Modern launched Tate Trumps, an iPhone app that turns a visit to the permanent collection into a game.  Visitors are invited to form teams and decide if they want to view the gallery as different ‘players’: Battle mode, Mood mode or Collector mode.  Each ‘mode’ encourages viewers to respond or interact with the artworks in a different way.  The players choose artworks that they believe will bring them victory in their ‘mode’.  They then meet to play the game to discover who uncovered the best examples from the collection.

Educational

The The Museum of Modern Art’s app helps users with their entire experience of visiting the museum – from planning to finding a specific work of art.  Visiters can learn about current exhibitions, browse works, take a “multimedia tour” and read biographies about specific artists or information about works.  Users can take photos of artwork to share with friends.

Making artwork social

The American Museum of Natural History launched an app that allows users to share their experiences through social media.  Users can also share insight and photos with other dinosaur lovers who have visited the museum.

There are many more museum apps out there – in fact, it would be difficult to find a museum that doesn’t offer some sort of multimedia experience.  These apps are engaging with a younger audience and are encouraging those of us who may get bored in museums to look at artwork in a different way.

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The Museum of Broken Relationships: the ritual of romance

// August 30th, 2011 // View Comments // b-Crowd, b-inspired, b-scene

The summer is coming to an end, and so are a number of art exhibitions in London.  What show should you see in the final days of summer?  Well, you could go see whatever is on at the Tate Modern, or you take a chance on an alternative arts experience: the ‘Museum of Broken Relationships’, for example.

‘The Museum of Broken Relationships’ is a unique exhibition that is both visually and emotionally engaging.  Conceptualized in Croatia by Olinka Vištica and Dražen Grubišić, each work of art tells the story of a past relationship – good or bad.  The works of art are a collection of random objects that are donated by people from around the world.

A forgotten wedding dress, underpants and a crumbling garden gnome are showcased alongside the descriptions of the stories that they represent: passion, romance and remembrance are explored in these stories.  There is no single way to view this show; the objects could represent the symbolic value of the relationship or the ruins of a failed romance.  However way you want to view the exhibition, one theme is true throughout: the Museum offers creativity in place of destruction.

When viewing the exhibition, one can’t help but wonder about these people who are willing to donate objects of such sentimental value to be placed on public display.  Perhaps it’s a way to overcome a destructive relationship or to honor a positive one.

Alongside the romantic shrines are objects donated by people living and working in the Covent Garden area as well as commissioned works in response to the exhibition.

Do you have a campaign that needs original artwork?  Submit a brief and get started today!

White Cube: the abject or shock value?

// August 15th, 2011 // View Comments // b-inspired, b-scene

While wandering around Shoreditch this weekend, I came across White Cube in Hoxton Square and decided to see what the latest exhibition had to offer.  The current exhibition in Hoxton is one half the joint venture between Jake and Dinos Chapham.  The artists are brothers, and for the first time, they’ve developed these works independently of one another, and have displayed them separately.

The brothers have been working together for nearly 20 years, and their artistic style tends to mirror one another.  Themes of religious iconography, abjection, satire and commentary on well known imagery are common throughout their artwork – and this show is no different.

At the Hoxton location, the ground floor is covered in 47 sculptures that evoke Picasso’s obsession with “orientalism”.   However, these sculptures are combined with found objects; cardboard, toilet rolls and cotton buds form the shape of the installations.

At the back of the exhibition space is a crowd of children surrounding a painting, each similarly dressed and standing in a casual pose.  As you walk around the sculpture, the children transform into monsters- each figure’s face is a monstrous dog, duck, elephant or bear.  This may sound cute, but the shock of the transformation from childhood innocence to disfigurement has a profound effect.

The works in this exhibition play on the viewer’s reaction to the abject.  In art historical jargon, ‘the abject’ is a complex psychological and linguistic concept orginally developped by Julia Kristeva in Powers of Horror: an Essay on Abjection.  The abject consists of elements that threaten our sense of cleanliness and that is simultaneously repulsive and desireable.  In other words, the abject is something this is so horrific that we can’t tear our eyes away.

Most of the Chapham’s works have an element of shock value, but don’t necessarily cross over into the realm of the abject.  However, it’s the old Christrian paintings and sculptures that evoke the abject.  The sinister room, decoraded with tacky lamps and boudoirs, sets the scene for the morose paintings.  The Christian paintings and sculptures at first look like average religious iconography, however, on closer inspection, the flesh is melting away or burned.  The works are meant to play with imagery and reference to religious artwork, and are successful in evoking the abject.

If you are easily offended, then this exhibition isn’t for you.  However, if you enjoy artwork that puts you outside your comfort zone, then the Jake and Dinos Chapham shows can easily push you there.

- White Cube, London. Until September 17 2011.

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Making music with everyday objects

// July 28th, 2011 // View Comments // b-legendary, b-scene

While wandering around Berlin a few nights ago, I stumbled upon a bizarre music sound: America blues circa 1920s in Germany.  This unique sound emanated from Jesse Carolina & The Hot Mess, a New York-based band who plays primarily jazz and blues from 1890 to 1930s.  This sound is reminiscent of The Ziegfield Follies and early medicine shows. However, despite the upbeat tunes and gritty vocals belted out by the lead singer, the real treat of this show was the unique instrument that tied the ensemble together: a washboard.

If you have a chance, go see Jesse Carolina & The Hot Mess.  This is a sound that you may not ever hear except on old Ella Fitzgerald records.

Le’s take a look at some non-traditional ‘instruments’ that are the heart and sole of a different sound.

Washboard

The washboard is traditionally used in jazz, zydeco, jug band and old time music as a way to provide a choppy, upbeat sound.  Named as a “musical bib”, it is worn around the neck and played by scraping the surface with thimbles.

Spoons

Unlike the washboard, spoons are not unique to American folk music; Russian, British and Greek musicians use the spoon in folk songs as well.  In the USA, the spoon is associated with American folk music, minstrel sounds and jug and spasm bands.  Similar to the jazz and blues sounds that make use of the washboard, the spoon is another everyday instrument that can provide a unique sound to traditional American music.

Glass harmonica

Originally from Ireland, the glass harmonica is a different sound all on its own.  Also known as the bowl organ, glass harp, hydrocrystalophone or just armonica, this instrument is in a [field on its own]. Musicians who ‘play’ this instrument fill a series of bowls or glasses with different amounts of water to produce different tones and then rub the rims of the glasses to produce a harmony.  If done well, this can produce a soothing ryhthem, but it requires a certain skill and precision to get the tones right.

Joanna Mialkowska – architecture meets painting

// July 18th, 2011 // View Comments // Uncategorized, b-scene, featured

Joanna Mialkowska is a Dublin-based painter and architect who explores the complexity of human nature through her emotional and colour rich paintings.  Originally from the university town of Wroclaw, Poland, Mialkowska’s work delves into the intricacy of Irish culture with a pan-European perspective. Joanna’s artwork is currently exhibited in ‘Connolly Bookshop’ and ‘New theatre’, Temple Bar in Dublin, Ireland. Mialkowska is a member of b-uncut and this week’s featured artist in the b-uncut “Special Exhibition” gallery.

b-uncut: What was your very first artwork?

JM: I cannot really recall my first artwork ever. I think it happened when I was about 3 years old. I have painted some scrumblings with crayons on the wall and my father went mental changing wallpaper in my room every so often. Then I started to use paper sheets.  I’ve drawn since I can remember. In fact I started to paint when I was teenager. I found it difficult and boring at the start, but the real passion for painting and art began in Primary School during my after-classes art course. Painting looked so easy when my teacher was doing it. I shortly realised that is was one of the most difficult and challenging things I have came across with in my life. My first painting was a landscape and it was a complete failure. I got truly discouraged by this event and left oils behind. It took me long time to convince myself to take  up oils again,which ended up creating my very first painting called  ”Rembrandt’s Joke”.

b-uncut: What are the methods you use when creating your paintings?

JM: I do not have any particular recipe for a painting. I believe that good art comes out as an effect of reflection, preparation, curiosity, ambition, patience and spontaneous creation.  Rushing ideas in my mind and desire of learning new things are what drives my artworks into new directions and styles. If I was to analyse the whole process of creating paintings, it would start from imagining pictures of the future painting. I would think about what I wish to say to the people. Painting is my form of communicating with world, therefore, what someone would express in 1,000 words I need to put in one picture. I select one or two ideas and focus on them more. I use to prepare a lot of sketches on the paper before starting the first strokes on the canvas. That moment is always exciting but also a bit overwhelming. It feels like creating a new world from the beginning. Once I started to paint I let my hands and mind flow with their own mood without unnecessary control of my brushwork. I would take short breaks to make some critical opinions and corrections to the results of few hours work. I would normally leave oil to dry for few days and then I would continue working on the paint layers again. I try to focus on one painting at the time and invest my time and attention in it. Shadowing and creating the light reflections I would leave to the end .

b-uncut: Who are your inspirations?

JM: It would be a hypocrisy if would I say that Irish society, as I know it, and general social aspect are the only inspiration for my paintings.   Although the main subject of my paintings contains my message to the society, the personal matters also found own space in them. I began to paint at the start of my unemployment. I have started to notice many other aspects of the reality around me: impact of recession on people’s personal life and psychology, political changes and ethnic differences in particular society. I became more interested and curious of the world and tried to transfer that observation into my artwork.

b-uncut: What did it take to make it to where you are now?

JM: I learned to paint by observing other artists’ artworks. I analysed their techniques and brush work. I have also spent some time watching Youtube courses and online trainings. I also promoted my artwork on Internet a lot.  It helped me to create web of many interesting connections and friendships with other artists.  Although spending time on performing my artwork to wider publicity was quite time consuming, it turned to be rewarding and effective.

b-uncut: You’ve studied Architecture in the past. How has this influenced your paintings?

JM: My architectural experience and education have massive impact on my artistic style. Drawing architectural perspectives, composing drawings and visualisations for many years certainly influenced my artistic work. The main aims of architectural designing are: strong contrasts, symmetry and composition of the picture. I use those basic principles in my artworks as well. I like using strong palette of colours and contrasts created by light /shadow ‘games’ to make my paintings more ‘dramatic ‘ and bit shocking.

b-uncut: If you were to design the ultimate dinner party, what 5 artists (dead or alive) would you include for stimulating conversation?

JM: I would send my invitations to: 1) Tamara Lempicka – female representative of artistic genius, extraordinary and courageous personality, which I would identify myself with- I am sure that she would add some ‘spices’ to the conversation 2) Rembrandt – another genius, creator of game between light and shadow, revolutionary thinker of his times 3) Max Ernst a dreamer and father of the artistic fantasy world -‘da –da- ism’ 4) Ron Mueck …most talentedsculptor, who created the world of gigantic humans 5) Dali – just to irritate Max Ernst with his stories about Gala and fame if I would be allowed to have another guest, it would be 6) Tadao Ando – to reflect on the importance of art in architecture and how the game of light / shadow can affect human perception of the space

b-uncut: Your biggest (albeit endearing) flaw?

JM: I speak my mind quite openly often. I would always find some answer for the topic and have my strong opinion on that. Some people find it fascinating and challenging for further discussion, the others would take it for my arrogance.

b-uncut: Your least favourite interview question?

JM: “Why do you not paint ‘happy’ pictures and use pastel , bright colours more ?”

b-uncut: Where would you most like to exhibit your work?

JM: New York, London, Hong Kong and Tokyo would be the biggest art markets on the world, therefore I would love to find my artworks exhibited there. I would be quite happy with my exhibition anywhere in UK. I have received a positive responses to my paintings from UK, Los Angeles, Germany, Florida and Belgium.

b-uncut: Where do you see yourself in…

One month?

JM: In Dublin, probably painting, meeting new people and learning more about world.

One year?

JM: In London, Hong Kong or Canada working in Architecture and exhibiting my work in one of leading galleries (which would be great ).

One decade?

JM: … ah .. that is too far ahead…haha.. let’s just wait and see.

Pushing the boundaries of contemporary sculpture

// July 11th, 2011 // View Comments // Uncategorized, b-inspired, b-scene

Wrecked cars, clumps of dirt, wires and lights, kitchenware and rocks.  This list sounds more like the collection at a junk yard than a West London gallery.  These are all materials found in the Saatchi Gallery’s exhibition of contemporary sculpture art.  The Shape of Things to Come: New Sculpture is a unique collection of artworks that you might think belongs absolutely anywhere else but in a museum space.  There doesn’t appear to be any unifying aspect to these works other than a re-interpretation of this traditional art practice.

The Saatchi Gallery, an impressive space if you’re interested in architecture, dedicates its entire floor to the collection.  Over 15 rooms and 3 floors are converted into a separate ‘theme’ for the installation. This organisational structure works to break up the different styles of artwork, forcing the viewer to focus on one aspect without feeling overwhelmed.

When walking around this exhibition space, one of the questions that came to my mind was how you define these works of art: when is a ‘sculpture’ a monument, an installation piece or a traditional sculpture?  It became clear as I perused that various interpretations of sculpture, that there is no distinction between the three.  The medium of the work, its placement within the gallery space and the story it told were integral to each piece.

David Batchelor

Brick Lane Remix I, by David Batchelor, is a reworking of traditional objects into a ‘monument’.  Batchelor is known for making sculptural installation pieces from found objects throughout London’s urban landscape.  In this installation, the artist built a monument to modern life – the leftovers from domestic life that he re-purposes into a colourful commentary on the wastes of modernity.

Sterling Ruby

However, not all of the works demand a serious interpretation, some play with the idea of the traditional bronze figure. Sterling Ruby’s sculptures look like waterfalls of goo.  Ruby has worked in a wide-range of media, from glazed biomorphic ceramics and poured urethane sculptures to enormous painted canvases, mixed media collages and even nail polish drawings.  His subject matter is as varied as his materials.  His work references include marginalised societies, prisons, architecture, graffiti, bodybuilders, mechanisms of warfare and cults.

Richard Wilson

Richard Wilson. 20:50. 1991. Used sump oil, steel.

The most striking artwork at the exhibition is something that I haven’t seen in any gallery space: a room filled with oil. Richard Wilson’s 20:50 is the only permanent installation at the Saatchi Gallery, and has been on display since 1991.  The custom built room is filled floor to waist height with recycled engine oil and has a walkway leading from the main entrance through to the middle of the gallery. From the entrance platform, the viewer can see the entire space and how the oil reflects the walls of the gallery, giving the illusion of an infinite space.

Don’t expect to see bronze figures or marble bas-reliefs.  This exhibition is made up entirely of anything but traditional materials, themes or styles in sculpture art.

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