Javier de Riba’s Patterned Floors Establish Vibrant Gathering Spaces for Public Use

All images © Javier de Riba, shared with permission

Catalan artist Javier de Riba (previously) brings the coziness of home outdoors with his ongoing Floors Project. Made possible with the help of the local community, the collaborative endeavor involves painting a specially designed motif onto the concrete or pavers that line walkways and city squares. Each intervention serves several purposes, including adding color to an otherwise gray setting, connecting locals to the artist and each other through art making, and establishing a welcoming gathering space in the midst of an urban environment.

De Riba has completed five of the carpets so far, four in Spain and one in Shenzen, China. He’s traveling to Breda, The Netherlands, this June to collaborate with Blind Walls Gallery on the largest work yet, which will span approximately 400 square feet. Follow updates on the Floors Project on Instagram and Behance, and pick up a print of the vibrant patterns in the artist’s shop.

 

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While Vermeer’s ‘Girl with a Pearl Earring’ Is on Loan, the Mauritshuis Showcases 170 Imaginative Renditions in Its Place

Ankie Gooijers. All images courtesy of the Mauritshuis

While Johannes Vermeer’s “Girl with a Pearl Earring” is on loan to Amsterdam’s Rijksmuseum for the largest-ever exhibition of the Dutch artist’s work, a cheeky surrogate takes its place. The Mauritshuis in the Hague is currently showing My Girl with a Pearl, a lighthearted and vastly creative digital installation, where the iconic painting usually resides.

Resulting from an open call last year that garnered nearly 3,500 submissions, the temporary piece features 170 renditions of Vermeer’s 1655 portrait presented on a loop. Mediums and styles vary widely, and the installation features everything from an abstract iteration using multi-color rubber bands to elegantly photographed portraiture to the viral corn-cob figure.

My Girl with a Pearl is on view through April 1 when the original painting—which has been the site of speculation in recent weeks as scholars revealed the earring to be an imitation—is slated to return to the Hague. Those who won’t be able to see the installation in person can find dozens of the renditions on Instagram, in addition to a virtual exhibition of the Vermeer exhibition on the Rijksmuseum’s site.

 

Lab 07

Guus the Duck

Nanan Kang

Ege Islekel

Emil Schwärzler

Left: Kathy Clemente. Right: Rick Rojnic

Caroline Sikkenk

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Ritual and Wonder Emanate Throughout Adrian Landon Brooks’ Acrylic Paintings

“Siren Song.” All images © Adrian Landon Brooks, shared with permission

Whether working on walls, rough slices of wood, or photographs unearthed from antique stores, Adrian Landon Brooks centers his paintings on the otherworldly. The Austin-based artist returns to characters and scenes with a mythical bent in his acrylic compositions, which are largely guided by the texture, shape, and predetermined forms of their nontraditional canvases.

Referencing a profound connection between the physical and spiritual, many works juxtapose organic elements like starry skies and minimally rendered flowers with bold blocks of color and sharp angles. Brooks’ influences are vast and have only recently become more intentional, which he explains:

Historically, any imagery in my work that looked similar to any one culture or place was coincidental… I wasn’t always aware of where I was visually drawing from. Most recently, I was asked repeatedly if was influenced by Egyptian artwork, which I thought was interesting because I never had any direct interest or meaningful time with it. I decided to lean into that a bit with one of my latest paintings (“Siren Song”) and see how a more deliberate approach would benefit my process.

Working subconsciously or not, the artist creates worlds that become portals to the mystical, with inviting color palettes, familiar imagery, and a perpetual inclination toward love, loss, and ritual that have grounded humanity through history. “My hope is that viewer leaves with a sense of wonder that is detached from the here and now,” he says.

Some of Brooks’ work is included in the group show Lucky 13 on view through March 19 at Paradigm Gallery + Studio in Philidelphia. Originals, prints, and other goods are available in his shop, and you can follow his latest projects on Instagram.

 

‘Warpaint’ series

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‘Open Circuits’ Slices Everyday Electronics to Reveal Their Surprisingly Stunning Insides

A cross-section of a 3.5-millimeter headphone jack. All images © Open Circuits

Whether the invisible circuitry that powers our phones or the bundled cables that transport sound and data, it’s easy to appreciate common technologies for their functional purposes and simplification of daily life. A recently released book from No Starch Press, though, treasures these components for the artistry of their engineering and highlights the intricacy and elegance inherent within each design.

Open Circuits: The Inner Beauty of Electronic Components features photographs of 130 technologies cross-cut or altered to reveal their otherwise hidden elements. Written by Windell Oskay and Eric Schlaepfer, the book features a vast array of objects like headphone jacks, HDMI cables, and even retro neon lamps as it offers nearly impossible glimpses for those of us interested in keeping our devices intact. Each page is both a dive into technological history and an ode to the evolution and aesthetics of electronics themselves.

Although Open Circuits is currently back-ordered on Bookshop, the publisher says that more copies should be available within the coming weeks. Until then, check out the book’s site and watch the making-of video below. (via Kottke)

 

A 5 x 7 LED matrix display with rows and columns

An alphanumeric display on a hybrid ceramic circuit

The ten-layer circuit board from a smartphone

The flexible power cable from a Macbook Pro

An HDMI cable

A cross-section of a quarter-inch phono plug from a guitar cable

Vintage integrated circuits in TO-99 metal can packages

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In ‘Uprooted’ by Doris Salcedo, a House Made from Hundreds of Trees Morphs into an Impenetrable Thicket

“Uprooted” (2020-22), 804 dead trees and steel, 300 x 65 x 50 meters. Installation view at Sharjah Biennial 15, Kalba Ice Factory, Sharjah Art Foundation, 2023. All images © Doris Salcedo, shared with permission. Photos by Juan Castro

We use the phrase “to put down roots” to express a desire to make a place our own, whether purchasing a house or deciding to live in one location for many years. A sense of community, family, being surrounded by one’s belongings, and feeling safe and secure all help to form the idea of home, which evokes myriad emotions and associations—especially if any of those fundamentals are missing. In Colombian artist Doris Salcedo’s monumental installation titled “Uprooted” at the Sharjah Biennial 15, the concept remains nebulous.

Salcedo is known for sculptures and installations that incorporate quotidian, domestic objects like tables or garments. Her practice often takes historical events as a starting point, focusing on the effects of major political actions on people’s everyday mental and emotional experiences. “Conveying burdens and conflicts with precise and economical means,” she once cataclysmically cracked the floor of Turbine Hall in London’s Tate Modern and lowered more than 1,500 chairs between two buildings in Istanbul to address displacement caused by war. In “Uprooted,” the theme of migration continues in the form of hundreds of dead trees that have been shaped into the recognizable silhouette of a house, its meticulously constructed walls and pitched roof gradually morphing into a thicket.

 

Salcedo contemplates transformation and loss that can be interpreted in many ways, especially in the context of Russia’s ongoing assault on Ukraine and the devastating earthquakes in Syria and Turkey that have displaced millions of people. By utilizing trees that are colorless and lifeless, she also references a rupture between humans and nature, examining how our connection to the environment is dissolving.

Visitors can walk around the installation, but the impenetrable tangles of the wood prevent them from going inside. Gnarled roots protrude from all sides, densely clustered trees obscure the entrance, and in place of an inviting front door is a forebodingly dark and impassable juncture between the domestic structure and the wilderness.

“Uprooted” is on view in Sharjah Biennial 15: Thinking Historically in the Present at the recently converted Kalba Ice Factory in Sharjah, United Arab Emirates, through June 11.

 

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Meander the Halls of Europe’s Grandest Homes in Gretchen Scherer’s Paradisiacal Paintings

“Doria Pamphilj” (2021), oil on panel, 24 x 30 inches. All images © Gretchen Scherer, shared with permission, courtesy of Monya Rowe Gallery, New York

In the maximalist paintings of Gretchen Scherer, you can wander the elaborate halls of the Galleria Borghese outside Rome, or step into a dressing room at Burghley House in Stamford, England—one of the grandest surviving Elizabethan “prodigy” houses—and you’ll have the place all to yourself. The Brooklyn-based artist meticulously renders historic interiors in oil and acrylic, emphasizing frescoed ceilings, baroque niches, and salon-style art collections. Focusing on real places primarily around Europe, Scherer is fascinated by the architectural details and the stories objects reveal about who lived there. “I still invent a lot, and they don’t look exactly like the places they come from. It’s more like the way you might remember a space in your mind or imagine it before you go there,” she says.

Scherer began incorporating architecture into her work around ten years ago when a friend gifted her a book about the genre’s history. She was increasingly drawn to more ornamental styles that preceded the clean lines of 20th-century modernism. “I like the references to nature and all the adornments,” she says. “Those [older] places feel so alien to the spaces we inhabit now—it’s truly like another world.” The spaces are always empty of human visitors, but their presence is felt as if they could walk back into the room at any moment.

“Every piece of artwork, furniture, or even a tiny drawing on a desk that I reference in a painting is from the collection of the place I am painting,” she says. Hanging paintings “salon” style or floor-to-ceiling was a decorating trend that can be traced to the École des Beaux-Arts Salon exhibitions in Paris during the 17th and 18th centuries that packed gallery spaces with as many works as could fit. The decoration of Europe’s grand houses soon followed suit. “The salon-style artwork installations are inspired by the way we are overwhelmed with imagery today through social media, but I find it so interesting that in the past, artwork was displayed that way, so we’ve kind of gone back to viewing things that way again,” the artist says.

If you’re in London, Scherer’s solo exhibition Of a Place opens at Taymour Grahne’s Notting Hill space on February 25 and runs through April 5. Find more of her work on her website, and follow updates on Instagram.

 

“Burghley House, Blue Silk Dressing Room” (2022-23), acrylic and oil on panel, 18 x 24 inches

“Osborne House, Dining Room” (2022-23), acrylic and oil on panel, 18 x 24 inches

“Burghley House” (2020), oil on panel, 18 x 24 inches

“Galleria Borghese” (2021), oil on panel, 18 x 24 inches

“The Round Hall” (2020), oil on panel, 18 x 24 inches

“Kingston Lacy, Saloon” (2021-22), oil on panel, 18 x 24 inches

“Sir John Soane’s Museum, Library and Dining Room” (2021-22), oil on panel , 48 x 48 inches

“The Royal Academy Summer Exhibition 1769-1915” (2021-22), oil on panel, 24 x 30 inches

“Wilton House, Cloisters” (2022-23), acrylic and oil on panel, 18 x 24 inches

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Dense Autumn Trees Blanket a Mountainous Bavarian Forest in Bernhard Lang’s Aerial Photos

All images © Bernhard Lang, shared with permission

The motto for the Bavarian Forest National Park in southeastern Germany translates to “let nature be nature.” This sentiment grounds conservation efforts within the preserve, which boasts near-primeval areas, or regions that have had very little human intervention. It also means that dead or dying trees aren’t removed and are instead left for the earth to subsume as they decay.

As part of his ongoing Aerial Views collection that highlights how people have profoundly impacted environments, Bernhard Lang (previously) photographed the mountainous forest from above. Many of the images juxtapose evergreens’ verdant needles with the autumnal hues of deciduous trees, while others glimpse dozens of fallen specimens as they rot. “In the last years, the forest has recovered by itself from the bar beetles and wind-caused damages. Mushrooms, other plants, and young trees are growing again, having the dead wood as a basic fertile soil,” Lang shares.

Prints from the Bavarian Forest series are available on the photographer’s site, and he’s donating 20 percent of the proceeds to conservation efforts. Follow his latest aerial adventures on Instagram. 

 

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