’s presentation at this year’s
ArtInternational fair in Istanbul features artists that draw on tradition with
eyes toward the future. The show samples from a variety of mediums: sculpture,
light works, painting, and photography, with shadowy, sensorial pieces and
artists using highly modern means to reference early art forms.
(2014) adapts the aesthetics of early mythological art, showing a milk-skinned
Aphrodite-esque woman gazing at herself in a hand mirror. Pigalle merges
photography with traditional paintings, resulting in a mix of the fantastic and
the editorial: Pigalle worked in fashion photography previously.
Barry X Ball
work Dual Screaming Self-Portrait Ensemble
(1998-2006) is comprised of classical sculpture translated through new
technology. Ball uses 3D technology to render bizarre sculptural portraits, in
this case two versions of his own screaming face; one distorted and stretched,
the other shrunken. The heads are sculpted from onyx, used widely in Ancient
Greek and Roman sculpture, though scarcely used now.
a sculpture by Anthony
, consists of a knot of soldered metal twigs standing within
a dimly lit mirrored box. Looking into the reflective walls of the box creates
an infinite forest of snarled metal. It is a foreboding scene; the effect is
something like looking into the twisted metal of a John Chamberlain
sculpture or the industrial orifices of a Lee Bontecou
work—cold and inorganic, but at the same time absorbing and beautiful.
(2012) is a powerfully modest work done in ink and tempera on
canvas. Tirelli utilizes the sfumato
technique, made famous by Leonardo da Vinci
Through this spare but punctilious expression, Tirelli shows us the inside of a
bowl, an apparently basic still life, but Tirelli’s image is transfixing in its
light sculpture X-360
(2013) recalls early
experiments in Futurism
kinetic art, and the spiral sculptures of Naum Gabo
Nearly 18 feet high, and outfitted with a motor, it is the optic centerpiece of
the show and a grand realization of the show’s theme of shadow and light.
— Makiko Wholey