Extravagant Sound Installations by Love Hultén Use Custom Synthesizers and Visualizers to Create Elaborate Audiovisual Mashups

Swedish audiovisual artist and woodworker Love Hultén is known for his extravagant and unconventional sound installations that fall at the intersection of music, art, and design. Whether an homage to Nintendo, Pacman, or Simone Giertz’s chattering mouths, the custom synthesizers are elaborate electronic instruments with broad audio capabilities and often, a unique MIDI visualizer that responds in real-time: play the keyboard of “NES-SY37,” for example, and a rendering evocative of a vintage video game will appear on a tiny LCD screen. In the case of “The Doodlestation,” a chord might prompt a cartoon-like figure to vomit an endless pastel rainbow.

Visually elegant and structurally complex, Hultén’s designs take about ten weeks to complete. He tells Colossal that he is currently working on a few commissions, which you can follow on YouTube and Instagram. (via Core77)

 

“NES-SY37”

“Moonray”

“The Doodlestation”

“TE-LAB”

Detail of “Moonray”

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An Ethereal Daily Portrait Series by Chiron Duong Captures the Vietnamese Tradition of Ao Dai

208. All images © Chiron Duong, shared with permission

Softness is often mistaken for weakness, and simplicity for lack, but Chiron Duong’s 365 Days of Ao Dai series holds the history of this Vietnamese tradition in full texture.

According to Duong, “Vietnamese Ao Dai is not only a kind of national costume but also contains a rich history, cultural traditions, aesthetic conceptions, national consciousness, and spirit of the Vietnamese people.” The garment’s capacity to “contain many memories” is most obviously captured by multi-bodied portraits, such as photos from days 183 and 208 that indicate unfolding stories. There’s also a ghost-like vapor resting upon each of these works that not only captures the grace of the gown but also how it embraces the body. In each photo, there is a presence that lingers.

Duong writes, “Through many changes of society and times, the Ao Dai has always been a beautiful symbol of the national culture, the pride of Vietnamese people.” In images from days 190 and 192, in which the figures are seemingly still but their arms and objects flutter, it is unclear whether the movement itself is fast or slow. It is clear, however, that these multi-realm beings capture the discreet and secret elements of time language. Earthy and ethereal colored portraits evoke feelings of land here long before this moment and lasting long after it shall part.

Most of Duong’s portraits are also characterized by mystery. Subjects, similar to those in photos 198 and 185, are hidden behind another image, a fabric, or an object. Viewers are not privileged to her gaze, only visual suggestions and the relationship of bodies to one another as seen on day 184. In many traditions throughout history, to be hidden or veiled is an act of reverence or a sign of great beauty. This has proven problematic as a trope when pertaining to women and femmes, but Duong’s obscurations arouse a hint of magic in the peek of color beneath the gown, the outline of distinct facial features, or the strong posture of a subject gliding through a scene.

To follow Duong’s daily practice, visit her Behance and Instagram.

 

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192

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185

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184

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Interview: A Conversation with The Tempestry Project Delves Into the Importance of Knitting Tangible Records of Climate Data

Yosemite National Park, 1916 on left, through 2016 on right, Tempestries by Niki Tucci, photo by Stephanie Panlasigui

Even in the wake of major weather events like the unprecedented flooding that closed Yellowstone National Park for the first time in decades last week, it can be difficult to grasp the magnitude of the climate crisis. The Tempestry Project has been striving to make such large-scale shifts more accessible and relatable through data-rich tapestries, which founders Asy Connelly and Emily McNeil discuss in a new interview supported by Colossal Members.

People don’t have to come at it specifically as “this is activism,” but people can come at it tangentially. Once they see the climate history that’s happening right in their backyards, it dawns on them that this is happening even here…A lot of the IPCC reports focus on what’s going to happen in the future, and people tune that out. I wish they wouldn’t, but it’s what happens. If you connect it to their lived experience in their homes, it’s a lot more impactful for people.

In this conversation with managing editor Grace Ebert, Connelly and McNeil discuss the slow, insightful process of crafting a Tempestry, why it’s important to standardize yarn colors, and the power a single knit has to change someone’s mind.

 

A New Normal kit for Canada

A New Normal Tempestry for Washington

The Paleo

Sitka National Historic Park, left 1916, right 2016, 1916 is on the left, 2016 is on the right. Photos by Sitka National Historic Park Staff

Grand Canyon National Park, top 1916, bottom 2016, Tempestries by Roxy Peck, photo by Grand Canyon Conservancy

A Tempestry kit for Apostle Island

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Paper Show: A Group Exhibition Highlights 14 Artists Exploring the Vast Potential of Paper

Julia Ibbini. All images courtesy of Heron Arts, shared with permission

One of the most reliable communication materials for centuries, paper historically has served as a vessel, a container for notes or the foundation of an artwork. An upcoming group exhibition at Heron Arts, though, focuses on the humble medium itself and highlights 14 contemporary artists expanding its creative potential. Paper Show features an array of styles, structures, and techniques from the whimsical mobiles of Yuko Nishikawa and Roberto Benavidez’s piñatas to Julia Ibbini’s laser-cut motifs and typographic messages from Judith + Rolfe. Opening July 9, the exhibition will be up through August at the San Francisco gallery. You also might enjoy this book that looks at the artists defining the medium.

 

Yuko Nishikawa

Pippa Dyrlaga

Julia Ibbini

Roberto Benavidez

Roberto Benavidez

Pippa Dyrlaga

Judith + Rolfe

Ale Rambar

Huntz Lui

Huntz Lui

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Awash in Color, Alice Pasquini’s Murals Exude Hope and Affection

Toronto. All images © Alice Pasquini, shared with permission

For Alice Pasquini, painting outside among pedestrians, cars, and the milieu of local life is an inherent component of her practice. The artist begins each mural by studying the intended wall and its physical qualities. Material, paint color, and various markings and damages offer indications about the area’s history and people, she says, and form a well-worn, culturally situated canvas. She then renders large-scale pieces of affectionate couples, children, and figures with extraordinarily kind and welcoming faces, expressions that contrast the largely subversive and politically charged messages synonymous with street art.

“I speak about human emotion and the relationships between people,” she tells Colossal. “That is what influences me more. Walls around the world were a way to get out a message of being united—even if that seems banal—as opposed to rampant cynicism.” Whether painted in shades of pink or awash in vibrant primary colors, the murals advocate for strengthening bonds and finding connections in unusual places.

Pasquini’s murals grace walls around the world, including cities like her native Rome, Oslo, and most recently Toronto. This week, she’s directing the Cvtà Street Festival in Molise, Italy—the seventh annual event involves multiple artists previously featured on Colossal like Daku, Cinta Vidal, Icy & Sot, Ememem, and Akut—and you can follow updates on Instagram.

 

Rome

Bologna

Rome

Toronto

Rome

Paris

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Wangechi Mutu’s Sculptures in Bronze Populate Storm King Art Center with Mythical Beings

“In Two Canoe” (2022). All images courtesy of the artist and Gladstone Gallery, by David Regen, shared with permission

Storm King Art Center is situated on the ancestral homelands of the Lenape, a reference point that Kenyan-American artist Wangechi Mutu returns to for a new exhibition at the outdoor museum in Hudson Valley. Comprised of her signature sculptures of immense hybrid figures, the largely bronze body of work addresses settler-colonialism and the inextricable tie between people and the land.

Perpetually evoking nature and mythology to address historical issues of contemporary relevance, Mutu positions women as the most powerful, revering their physical form and highlighting their innate connection to ecology. The artist’s latest work, “In Two Canoe,” features a pair of figures with branch-like appendages momentarily straddling a skinny vessel, their faces wrapped in mangrove leaves. “This plant has moved everywhere, has made journeys like those who were kidnapped from Africa and taken to the Americas. The water seals this unified story we’ve created for ourselves. We are all connected on this sphere of Earth and the water is how we go and find each other,” Mutu says in an interview.

Also on the Museum Hill site is the regal “Crocodylus,” a sleek reptilian creature that faces an opening in the trees. The scaly form corresponds with the massive coiled snake that occupies “Nyoka,” one of five sculptural baskets spread across the meadow. Inside the center are smaller earthen works constructed with natural materials like bone and soil gathered near her Nairobi studio.

Mutu’s sculptures are on view at Storm King through November 7, and she’s hosting a film screening at the museum on September 3. To follow her practice, head to Instagram.

 

“Crocodylus” (2020)

“In Two Canoe” (2022)

“Shavasana II” (2019)

Detail of “Nyoka” (2022)

“Crocodylus” (2020)

Detail of “Shavasana II” (2019)

“Nyoka” (2022)

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Reimagining an Iconic Midwestern Structure, Catie Newell Cuts a Slice of Sky Out of a Michigan Barn

All images © Catie Newell, shared with permission

In the township of Hume in rural eastern Michigan, an unassuming barn stands sentry in a wide-open field, partially covered in wild vines and grasses. Like many Midwestern farm structures, it’s weathered and has seen years of use and repairs, but one recent alteration makes it a standout among its counterparts: a careful cut through the middle of the structure reveals a slice of sky. Conceived by Detroit-based architect and educator Catie Newell, founder of Alibi Studio, the project reworks the iconic framework of an aging farm building to allow light through an unexpected aperture.

A team of more than two dozen construction professionals and volunteers collaborated on Secret Sky’s transformation, which is part of an ongoing series of barn interventions in rural parts of the state that are commissioned by Greater Port Austin Art and Placemaking. The nonprofit’s project 53 North works with creative practitioners to adapt and save unused, aging, wooden barns in the region.

To make the massive cut for Secret Sky, original materials were patiently reworked and replaced by hand, including restructuring the overall design so that major beams and a column could be removed to open up the new space. Simultaneously subtracting a large volume and also adding a new area, visitors can now pass through what Newell describes as a merging of building and landscape and “a gift to the sky.” Both meditative and striking in the daytime, at twilight the barn is illuminated and glows lantern-like, casting long shadows across the field as light escapes through the slats in the walls.

As part of the ongoing project to preserve the building, Newell is currently raising funds to replace the original roof shingles and protect it for years to come. You can donate to support Secret Sky at 53 North and learn more on Newell’s website.

 

Image © Ben Lawson

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