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repurposing with a passion - white acrylic sheet

by:Cailong     2019-08-10
repurposing with a passion  -  white acrylic sheet
In 2011, when I wrote for Shanghai, which is no longer there --
Based on the publication public art and ecology, I wrote an article on trends in the reuse of global art materials.
The article was accepted for publication, but the magazine encountered undisclosed difficulties and was unable to publish the second issue.
Since then, the general trend of repositioning or salvaging materials has evolved, and I think it's a good time for the Huffington Post to "reposition" the article to have these unique artists in
It is of immeasurable benefit to reuse materials in a passive way.
Recycling uses instinctive, economic, aesthetic, philosophical or even political reasons, and visual artists are a very important part of this process.
To bring together compelling examples of this trend, I ask some artists around the world to answer four questions, hoping to clarify this --
The phenomenon of re-use with passion is increasing. Question 1.
What kind of materials do you recycle in your art and where do you find them? 2.
If so, what specific events or implementation would allow you to add discarded materials to art production? 3.
What message do you want to convey to your artistic audience in terms of aesthetics and ecology? 4.
Do you have a political or philosophical agenda?
RepliesJames Boman has his studio in Archway, England, he has made confusing art, he is in non-
Linear narrative is between wild childhood fantasies and waking dreams
They remind us that our world is full of useful surprises and inspire our imagination. Mr.
Borman's answer is: "I am a cyclist in London, mainly bicycle parts found in skips (Bethnal Green)
I hate it very much when I see abandoned bike parts rust.
I am becoming more and more fascinated by my bike and feel that it has a personality and for me it is alive and I am sad to think that something that can give someone so much joy and excitement is abandoned.
I 've used a lot of charity store stuff and I feel like these items contain the most history, think about the item's journey to charity store and what the next stage of the item's history will look like, it's interesting. my property.
"James Borman, a little uncomfortable (2010)
Find objects, 6. 5" X 3" X 3" (
Provided by artists)
"When it comes to materials, I think money is always the problem, but this is not the reason why I use the found object at work --
It's a little deeper than that.
My passion is cycling, I can't afford bike parts, I search in the jump looking for old bikes, build them, change parts
At the end of the day, I collected a lot of parts and I thought, instead of throwing them away, I used them to make sculptures.
In addition to bicycle parts, I also collect all kinds of things
I think I like to explore the nature of abandoned things.
"I want to express the characters in my items and I want people to simply enjoy the composition of these" orphan "items.
I hope my work is interesting and thought-provoking.
I think all these things seem to have stories to tell.
Rose Steven Kadir has a studio in Brooklyn, USA.
His art is beautiful, absurd, challenging and thought-provoking.
His sculpture is about the subconscious.
How it connects thoughts and memories
In his consciousness, how the connection becomes real and physical. Mr.
Caudill's answer was: "Recently, I mainly purchased stainless steel at a local metal factory.
They got most of the metal from energy production and the food industry.
They will then process and separate the alloy for recycling.
I find it interesting to make works of art that provide philosophical nutrition from materials that make up machines that support our physiology and civilization.
Great resonance rose Steven Kadirdetail)(2009)
, Stainless steel, bronze, brass, 98 "X 48" X 52 "(
Provided by artists)
"Moving to Providence, Rhode Island for an undergraduate degree has a big impact on my use of" objects found.
In the urban environment formed by the Industrial Revolution, objects with patinas and features shaped by physical labor can be found.
I am full of infatuation and nostalgia for these parts and connect them in creative and poetic ways.
"I believe that art is an expression of beauty, which is fundamentally derived from respect for the natural world.
If we can learn to understand the complexity of biology with a curious eye, we can better understand how human beings relate to each other.
I feel that building a dialogue in my work to achieve this goal is a driving force for existence.
"My philosophical agenda is to create works that may inspire some enlightenment or reflection in the audience.
I would like to find the connection between the principles of management and natural forms, and their connection with the human desire to understand purpose and consciousness.
"In his studio in London, England, Wayne Chisnall created an art that, when experiencing a very modern mindset, this mindset quotes things like structure, time, and functionality and futility.
There is also pop culture in his mind, because he addresses the differences between reality and perception, and how this affects the needs, needs and even formation of human psychology. Mr.
Chisnall's answer is: "Although I have used plastic toys (
I collected it from frequent trips to cars.
Boots sold, long before I knew what I was going to do with them)
In one of my sculptures, I am usually attracted by materials that I feel have some sort of "resonance.
These are usually organic materials that interact with the environment or with people in some way.
The material varies depending on the project, but I usually use anything from wood, metal, glass, human hair, insects to bones and teeth.
"Wayne chinal, magnet (1999)
Plastic toys, wood and casters, 44 "X 18 "(
Provided by artists)
"Since I prefer to use the existing material instead of the newly made one, I tend to find my material from around me.
However, this could be a minor issue as I tend to hoard more than ever before.
"The rusty nails and screws I used to complete the Nail Box sculpture, mostly picked up from the ground and collected in four years.
Although most of the nails were found in London, when I traveled in Wales, Scotland, Ireland, Europe, Thailand, Cambodia, India, a large part of the nails were also collected, mexico and the United States.
When I was doing a project there, several of them even came from the dome of St. Paul's Cathedral.
"One of the richest sources of material for me in the last decade is where I work.
I'm lucky to work part time.
At the Victoria and Albert museums in London, it is the largest in the world, and if it is not the oldest design museum, it produces a series of interesting scraps (old and new).
"The work of animators such as brother Wharf and shwankmagj inspired me in January.
When I was a child, I was in awe of their dark animated short film and hypnotized by the way they filled their lives with old pieces of tattered pieces.
I don't know if this is my love for old things or just restated my passion for old things, but in any case when I move from 2D to 3D, and when I started using the discovered material in my work, I felt like I ended up being an artist.
"Through my art, I want to show that richness and beauty can be found in old and old items, while not obvious in newly made items.
By using materials that already show signs of their own personal history, I hope to establish narratives where most of the content of the story is already in place.
Used objects tend to have an obvious patina that we can all understand and can be built with ready-made things
Loaded materials we can communicate with the audience at the level that we have already participated in.
"Peter De Cupere has studios in Antwerp, Belgium and Paris, France.
His main purpose is to make smells with what I call rubbish.
Sir, combine the rubbish with the other materials found.
De Cupere creates a combination of textures, colors, shapes and parallel wild and evil, attracting and attacking each of the five senses.
With his art, he faced the audience in one place and showed some very difficult realities. Mr.
De Cupere's answer is: "In my art, I recycle different kinds of materials.
Most of the time, the choice of recycled materials is based on the concept and background I am working on.
A few years ago, as an art student, I started using recycled materials when I had no money to buy things.
I rely on the scrap that people throw away.
I found a beauty in it.
First of all, the combination of recycled items gives meaning to the work.
Later, when I combined what I found with herbs, vegetables and fruits, it began to change.
This evolved into a production of recycled food.
Like G-
The perfume I created in 19961997.
Perfume made of food in my daily life.
Over time, I kept the food I hadn't eaten and let it ferment.
Later, I distilled it into perfume.
I have a list of all the ingredients (9 pages)
And list the perfume.
G represents garbage with a double meaning.
Smoking Room (Peter De Cupere)2010)
, Smell device: 750,000 cigarette butts, perfume added: Bacon-
Smoke and asphalt, 87 "X 118" X 106 "(
Provided by artists)
"The most common thing I found was cigarettes, which in 1999 combined with smoked bacon to create a painting.
At 2010, I made a room with over 750,000 cigarette butts (
Not very good smell.
For this installation, I asked the students to collect it for me and for this I paid for them at the local bar.
It took several months to finish the work.
"In her studio, in Kent, England, and around it, Ruth gladard turned her world into a place where facts and novels sometimes collide.
Her art may be sensitive and sharp at other times, but it is always testing our preconceived notions of strength and beauty, as well as our world in manyMs.
Geldard's answer is: "I use dead stuffed animals, unwanted and discarded things;
What I can do is "useless" and lost because of the evidence of age, I can collect or clear clothes.
I look everywhere.
Handmade shops, skips, bins, Ebay in the streets and countryside.
Ruth gladard of ToCover 2 found logs, remnants of leather for children's gloves, pink silk and glue, 25 "X 9" X 7. 5" (
Provided by artists)
"My understanding of the emotional and relational nature of my interaction with certain objects (
My collection behavior)
A study of the possibility of gender phenomena has been initiated.
Since then, my work has included speculative experiments using object materials and processes.
"My current job is to investigate and take into account gender responses and awareness of subtle behavioral differences.
The materials used are deliberately, aesthetically pleasing, phenomenal, inviting and strange side-by-side.
These processes are limited by complex and ambiguous verbs: Culture, suffocation, masking, secretion, and enhancement.
Interactions with work reflect and amplify behavior and sometimes inspire yourself
Conscious recognition as part of a broader gender identity.
Since the objects used often come from nature, this creates a nostalgic, near-pious memory.
The connection between the observer and the object and the material.
"The possibility of a gender-only response to objects and materials allows the possibility of gender behavior.
For example: Tracey Emin's My Bed 1998 public reception exposed cultural and gender anxiety, shame and secrets related to women's health issues.
In retrospect, my bed can be seen as a metaphor for women, just as the fountain of Duchamp became a metaphor for conceptual art.
The feminine qualities of my bed suggest the cannon of contemporary art.
Cixous may suggest in the quotation below that in order to fully express herself, women need to fully accept the particularity of women.
"Review the body and you review breath and speech at the same time. Write yourself.
You must hear your body.
At present, scientific research on gender brain differences provides possibilities for gender phenomena.
Understand how human work can provide great information for ideas and methods of social ecology in the future.
His studio is in sopt, Poland.
His art pursues the flexibility of the past.
Like a graffiti artist, he destroys in the process of creation, but the difference is the use of intimate relationships and personal memories.
He relived his past with advanced thinking, thinking that art is an endless conversation that will never be completely completed. Mr.
Gliszciciski's answer was: "Initially, I started using my own artwork --
The "leftovers" after my creation process, scratches, and layers of painting --
Remains of paint substances, including pigments, wax, marble powder, steam substances.
To be able to reuse this material, I put it in a water bath bucket.
The substance melted due to the composition I used, so I can use it again.
Due to the addition of substances related to the existence, such as ash and soot, I added new features during the melting process.
Recently, I started using other materials like disposable gloves, cans that I use at work
I melt the container of the material used in the bathtub.
"Memory object, impressive memory object (2010)
The floor and paraffin wax of the household are scraped off by paint, 18 "X 47" X 118 "(
Provided by artists)
"In 1992, when I had a work conversation with someone absent from Worpswede, I removed the last layer of my painting to show the painting below.
It spilled on the floor and it made me reflect.
The valuable material specially prepared for the painting suddenly turned into some unnecessary garbage. existence.
This reminds me of the work of an interior decorator who removed the old paint layer from the wall.
I have been collecting the remains of my work since then.
"This is a conversation for me, and I had a conversation with Ad Reinhardt's statement:" I know I'm drawing my last picture.
"The urn itself has some features of painting, because it naturally originates from it, and at the same time, it is also proved to be its classic opposition.
A urn is precious enough to store the remains left after the painting process.
Or, it is precious enough to bury it with the honor it deserves.
The urn itself is sadness, a strong loss relationship and a desire to regain what has been lost.
A feeling of loss, a feeling that nothing will be the same --
Be my inspiration.
Order and organization are needed to destroy itself.
That's why my "urns" are given numbers and dates (
Usually related to the time frame of work).
"The most important thing is to touch the philosophical information of matter and spirit.
There is a certain dichotomy between the substance itself and the meaning it carries --
Or what we give it.
A rejected thing, considered unnecessary, has some value in itself, and we can notice it when we reuse it.
The background of memory is between individuals and society, and between empty people and society.
Complete and internalthe external.
Olivier goethers created memorable sculptures in Ghent's studio in Belgium, which mentioned the decline of the city.
He is an architect and a teacher, but his sculpture brings with it the absurd mix and the uneasiness of the side-by-side.
The most important thing is that he brings us a world of personalized intimacy, a world full of happy discoveries. Mr.
Goeth's answer is: "I use recycled materials that I often find and collect on construction sites: cement, plaster, wood, bricks, paint, sand, concrete, paper. . .
Mix with other idyll details that are out of use but still have history or stories to tell.
For example, I used milk glass in a sculpture owned by my grandmother, which I knew when I was a child.
Goethals, Assembly month (2010)
, Mixed media, 20 "X 71 "(
Provided by artists)
"I'm interested in non-aesthetics.
Design, coincidence, and normal aesthetics.
There is a history of waste materials;
They have different levels;
They have different lives and meanings before I start over
Register or re-register
For sculpture or installation.
The resulting multi-layer texture is an interesting starting point;
Free for anyone.
"I don't have specific information about ecology.
It is more about people's sustainable thinking and behavior.
I don't like that everything should be a new culture;
Spotless and seamless.
I believe that history, time and use can enrich things, places and buildings.
Young is not an achievement; not for people; not for things.
We should allow things to change, change and deal with as a result of a rich patina, not as a reason to consume for the purpose of new things that are often considered boring.
Venice is beautiful because of its imperfect architecture;
Its multi-story history visible in contemporary and tourismCentral settings.
Catherine Johnston has a studio in Victoria, Australia.
The art she created was curious and mysterious.
The thoughts she inspired settled in our minds.
Conscious thinking
The line between reality and fantasy is not necessarily vague, it is expelled.
Her art reminds us of possibilities, both practical, dangerous, mobile and factual. Ms.
Johnston's answer: "I recycle most of the material in the sculpture.
Abandoned leather furniture became a case of drawing in new works;
These were found on the side of the road or donated by friends and family.
The broken watch and watch battery is wrapped in cast resin and new life is refreshed;
These are what I have accumulated in the "past life" in the UK, repairing watches on my way to starting sculpture, and also from the jeweler who happily cleaned up the scrap pile for me. Op shops (
Opportunity store)
It is also a good source of recycled items that are constantly used in my sculpture.
Catherine Johnston, Monkey2011)
, Leather case, wooden frame, 67 "X 90. 5" X 71" (
Provided by artists)
As an art student. . .
Who can afford the material? ! '.
The core elements of my work are the factory recycling box, theater sidecase, found items, etc.
Now, as a full-time practicing artist, I am still a creature of habit and necessity.
The use of old objects in new works gives new objects the impossible concept of realization and the working power of life depth.
They create new possibilities and build closer ties with the audience by familiarizing themselves with the common social history.
My work deals with very powerful information and ideas.
The intensity of this information is usually comparable to that of the public that is viewed on a daily basis.
I found that by being loyal to the traditional sculpture method of making exquisite works and making it exciting and connected, I was able to attract people to participate in my work.
Once they are "there", they will be willing to absorb the subtle and less subtle information that my work wants to generate thinking and response.
While I can appreciate the short-lived concepts and bravery in the works of other artists, in my practice, I am not interested in the "abandonment" nature of the current Western society --
My sculpture is made.
The photography and installation work I do often reviews the mistakes in mass production and consumerism, and the resulting personalisation of human beings.
In the darkest places, you can still find the beauty.
I believe that by showing this beauty you can get people into the darkest places and through this journey they will be changed.
"During my recent residency, I have been working with vulnerable youth and victims of domestic violence.
By giving the mind a voice, giving the invisible a form, I see these people blooming in the self
The belief and consciousness of their power to change the world.
I saw their pride and hope lit up. . .
I know I'm changing. ""And so. . .
With a smile on his face, his pocket was empty. . .
I kept going to pick up the bins and scrape the accumulated muck away from the false reality. . .
Like the creative pig in the mud.
"Like his life, Joan Ruzi's art also bears the wounds of bloody war.
His art is direct and symbolic, and he wants to tell his story, the story of his motherland and his people is his passion.
He has a studio in Prishtina, Kosovo. Mr.
Jonuzi's answer was: "I used the same weapons in the Kosovo war to make my sculpture.
I found them in the factory where they were collected and destroyed.
These weapons are useless, and to some extent I have given them new lives.
A better way to show the war publicly is over.
"Black Eagle" Esther qiaonuzi (2003)
Weapons were found from the war, 47 "X 23. 5" X 71" (
Provided by artists)
"I'm always fascinated by upstarts --
Realists like Cesar bardakini and Jean tinguli, because I always try to do something strange and unknown.
For a long time, I have collected different discovery items and materials to make my sculptures, such as car parts or everyday items in my life.
But for me, weapons are the most powerful material.
They are the only ones specifically talking about war and violence.
"With these weapons, I can explain the reality of my national war.
These are real weapons that people use. Machine-
Guns, Kalashnikov and knives used to take life and destroy it.
Through shapes, lines and volumes, I am trying to express the drama that we have experienced as communities in this part of the Balkans.
My work represents the wounded soul of my country.
"From the moment I saw the weapon, I immediately felt strange and scared.
Weapons are fear, war, power and death.
For a long time, I put them in my studio before I could do anything.
I will think, how should I deal with all of these issues.
That was when I started making sculptures.
Even though they are sculptures for the audience, they are still weapons for me.
Kishimoto Masaki has his own studio in Tokyo, Japan.
His art is immersed in the popular tourist souvenir culture.
The combination he created is a fascinating and crazy explosion of beautiful colors and forms that remind us of the gap between the rigors of reality and the promises of fantasy. Mr.
Kishimoto's answer was: "I was particularly inspired by a souvenir of an acquaintance --
The important things are not thrown away, but not needed.
I collect them not as rubbish, but as I step in before they are lost, thrown aside or broken.
"Wood, chrysanthemum tree (2007)
Mixed Media, 71 "X 98. 5" X 19. 5" (
Provided by artists)
"My concepts or ideas don't necessarily affect the thinking process of the audience.
Information is often with me from the sender.
Well translated is the strength of the material design and the ambiguity that my work produces when it sees this cumulative form.
"My art is a comment on the fragility of the material, just as it is an event or a cause created for mass consumption.
These things are meaningless or unimportant to some people.
They said a lot to me.
"Anna Kristich studied art and philosophy in belgede, Serbia, and she kept her studio in Minica.
Her work made the audience more aware of their waste.
Her sculptures, performances and installations also address stereotypes or preconceived notions about wealth, gender, and even ambition, bringing us back to the actual natural beauty that still surrounds us. Ms.
Krstić's answer is: "In my installation, I mainly use plastic, nylon and rubber --
Later, I combined it with the video.
Sometimes I use discarded materials such as plastic bottles, but recently, I simply went to buy them, usually in a store selling home plastic, or in a shopping mall in China.
I'm not happy with buying instead of using materials that have already been used, but I need my items to be as shiny and new as possible, because that's exactly how these shiny objects affect us, so I'm trying to use it as an element in my work.
"City Girl Anna Christie (detail)(2010)
Mixed media installation at the Memorial Hall of chazaknadida Petrovic, Serbia, 138 "X 197" X 236 "(
Provided by artists)
"For me, for our ancestors, the discarded materials were like stones, wood, and clay.
It is around us, it is a part of our lives, it is within our power and cannot be ignored.
In my study of classical sculpture, young people have to accept precious materials such as stones, wood and terracotta warriors.
I agree with that.
However, take a stone that is already very beautiful from nature and carve something in it --
I don't care how beautiful the last piece is.
To some extent, this is a kind of blasphemy.
Nothing can be as beautiful as a stone, standing in nature, carved by nature and left there in peace.
The work of Hamish Fulton made me realize this.
"Every time I say goodbye to the new plastic for my work, I feel sad, I really (
I won't throw them away though I reuse them).
I talked to a friend and she said-
"In any case, it will be used for more useful purposes than art, at least you are sending messages.
"So after that, I think, I insist on using plastic. . .
Apart from using plastic in my work, putting it in the gallery, trying to break the magic of "beautiful, I don't see any other way to make people realize how bad plastic is for them. shiny, shiny".
"We live in a world of fantasy.
We made one.
Believe in the luxury of a few, everyone will pay for it
When nature hits us
I am trying to break some of the illusions that affect my life, and I realize that in this sense, my work is mainly from the perspective of women and feminism.
Fiona Dragon is based in London, UK.
She completed her residence at the Chinese arts center in Manchester and conducted research in Tokyo and worked with a waste-themed workshop.
She is also the chairman of POST, a peer-led network of artists who respond to place, so public art also fascinates her. Ms.
The art of the Dragon is a whimsical vain for it.
It's like she showed us a sense of humor, but with consequences and mystery. Ms.
Long's answer is: "I like to use contemporary items that have been weathered, and although they are actually new, it looks like they are of a great age.
I found the best on the street or on the beach.
However, I had to use less of what was on the beach, otherwise the appearance of the beach became too obvious!
I especially like those things that are everyday but are discarded and become a mystery.
I got some bigger objects from Freecycle like furniture
An online community whose mission is to recycle unwanted things rather than fill up landfill sites.
The people who clean the house are happy that someone takes things away without worrying about how to deal with them, the grateful recipients will get what they want, or can take advantage of it in some way.
This is a very valuable resource for artists like me!
"Fiona Long, fresh in the forest (2010)
, Installation of recycled doors, natural wood and oil paintings, 197 "X 157. 5" X 118" (
Provided by artists)
"I have been very aware of recycling all my life because my father runs his own consulting business in waste management.
But when I moved back to London after living in this country for a while, the process of incorporating waste materials into my art really started.
My initial reaction was a very black and white view that the country is beautiful and the city is ugly.
I soon realized that some of the most easily overlooked aspects of the city may be the most sublime.
I think this is the most common situation when nature begins to invade humans. made. This wabi-
I was moved by Sabi aesthetics, and my goal is to help others integrate into these acute phenomena.
In 2008, I spent some time with artist Matthew Roberts on Orford Ness, raising interest.
This is a special place with abandoned military test buildings and ammunition everywhere.
It's like a desert wilderness where nature is now raging.
For example, there is a metal lamp with a large number of stalactites in addition to all the rusty objects.
Stayed there for two weeks and being lucky enough to be there meant experiencing the real emptiness of the place, which had a profound impact on my work.
The nuclear test reminds me of a post-apocalyptic vision that has dominated my work for years.
It's not about revelation itself, it's about archaeology in the future that might tell us about our civilization today.
"I want the audience to combine contemporary but ancient objects with a mixture of Bush --
The technology of the craft confused them, how did this come.
The purpose is to cater to the trend of the times and create a romantic nostalgia for the future, making it easier for us to follow the mass consumption culture.
The downside is that people need the word "revelation" to see what I'm doing and when they hear the word it affects how they think about the work.
It was quite promising.
The aesthetics of these works accepted wabi-
Show the beauty of short and imperfect.
I explore human ingenuity by assembling sometimes practical objects with Bush's contemporary fragmentsProcess materials.
As we adapt to urban life, practical ingenuity seems to be something we are losing in an environment where cheap disposable plastic is readily available.
"It's subtle that I prefer my point of view.
I have found that ecological art can become better and a political instrument if handled carelessly.
It's not that art and politics can't be combined, but I believe that more subtle art will have a better effect as people don't like to be told what to think.
After absorbing the information and information, it is best to make up your mind, but don't impose them on you.
I want people to be more exposed to their physical environment and the materials available in it, while putting that knowledge in the past and in the future.
Nancy gewlb Mayanz has his own studio in Valparaiso, Chile.
She is a visual artist, as well as a poet and performance artist, and her art shows her art, all of which has its own ethereal or detached qualities. Ms.
Mayanz's answer was: "I used discarded leather, which I found on old sofas and chairs and I turned them into sculptures and tapestries"One Day)(2001)
Photos, knotted leather, ropes, ritual supplies and bed rack, 75 "X 35. 5" X 12" (
Provided by artists)
"Sometimes I feel like a bird looking for material to make a nest.
Once, I was in a shop looking at how the man was striped from a sofa covered with old, weak, dry, dyed and scraped leather, and suddenly, my memory of the body, human grease, spilled food, blood, sperm, tears, on it, stretched out as a sitting place to give it life as an exchange of animals.
"I don't think any information I send to the audience will be received because I want it, but I don't lose hope.
I want them to enjoy the way I show my inner world, and by this way, I want them to see in awe the hidden problems and meanings of those works of art I made with old raw materials, and the memory left in it, the sorrow of this planet is also giving its life, in exchange, it is stretched at our feet as another trophy.
"As far as my heart is concerned, I am a socialist and I believe I do not belong to any political party, as Ivo anddick said," Life is a long disease, from birth to death.
"I am not afraid to love my family, I have to have my loneliness, I need the works of art I am working on, I like and hate them, but if they are not created, I can't live, so I feel at ease.
"Alex Mazzitelli has his own studio in Leicester, England.
His art is acting like a static sculpture.
There are certain elements in the mental or physical interaction of the audience that can complete or drive the work.
His art is a strange reflection of us. it may stop us, surprise us, or shame us. Mr.
Mazzitelli's answer is: "Almost every part of my work is found in streets, thrift stores, charity shops, markets and used stores --
I rarely use new objects.
First of all, I put together the collected objects until I get the combination I like.
I then add materials like paint or plaster or latex to manipulate the object to get the desired effect.
Alex marchley, duck
Feeling without feeling (2010)
, Mixed media, 67 "X 59" X 63 "(
Provided by artists)
"Well, I believe that any object or thing can be gathered together to create art, and I believe that the object found is there, and anyone can find it for art by chance.
Objects found can also inspire or make us think.
I believe there is a reason why things happen, and so are objects.
If I see something, I like the look of it, or think it might come in handy, I will take it away.
Occasionally, this may be something I 've been looking for to complete a work, or sometimes I keep an object until it's useful for another work or work.
"I want people to realize that garbage can be made into something interesting and it can give people different ideas.
I think, as human beings, we waste too much and we should think more about the way we discard unwanted garbage.
I believe recycling is a big deal we have to solve.
Each object can be used for other purposes.
Unwanted tubes can be used to mix paint, grip pens, and even flowers.
"Yehudit Mizrahi created the sculpture, which also includes the sound and dynamics that celebrate the strengths and weaknesses of life.
Her combination is a strange combination that combines vintage items with occasional attention to the future.
This is her most striking feature. Ms.
Mizrahi studio is located in Amsterdam, the Netherlands. Ms.
Mizrahi's answer is: "metal, water pipes, furniture, cloth, TV, wood, basically everything that fits the concept of my work of art.
"Yhudit Mizrahi, eccentric tone generator (2008)
Wardrobe, wood, metal and electronic products (
Dynamic Sculpture), 53" X 37. 5" X 16. 5" (
Provided by artists)
"Every part of Amsterdam has its own garbage day, every week.
This is a "used shopping mall" where you can find something you never thought you would dare to buy.
Because I was doing dynamic art, I found that most of my cars were in the car dump.
I remember the first time I entered a metal dump in Amsterdam's Dandong department.
The workers there were very surprised to see me crawl into a huge container full of goods.
Celebration of the Queen's birthday in the Netherlands (
It's actually her mother's birthday)
Allowing everyone to sell whatever they want is a great opportunity to get unique items.
"My interest in dealing with abandoned objects begins with an idea;
I want to create an orchestra with furniture.
Throughout my search, I understand that I am searching for objects that I can feel the history or story behind it, and that I can mechanically manipulate it as a tool.
Because I made this series called "if grandma has wheels. . . " I was hooked.
"I never thought about what message to convey before I read your question.
I believe in recycling and I found a lot of beauty in old materials.
Old things have scars, wrinkles, dust and smell of dreams.
Things like this have stories like time capsules that take us somewhere.
It's not a new idea to re-use old items and rejuvenate them.
Back in the past, things are lasting, and when the object is finished rolling, it becomes something else.
In those days, people must be more creative because of poverty.
As for the audience, I certainly want them to understand the importance of recycling, although I have not actively communicated this message through my art.
It just happens "because of my aversion to the disorder of production and its consequences-consumerism, it feels like the world is out of balance.
Mona Naess has his own studio in Oslo, Norway.
Her art is both physical and spiritual.
There is a reverence in her installation, just like her work or monument.
Naess will be ignored to the divine level. Ms.
Naess's answer is: "I mainly collect and recycle things that nature has discarded, or things that come into contact with the Earth over time.
I often use the materials found on the beach where I live; water-
Polished bones, dead fish and birds, driftwood, pieces of terracotta warriors, smooth pieces of porcelain, rope
Twist, corrugated iron and rusty old farm tools.
I also collect dead animals, birds and horns I found in the forest, as well as the hair my friends gave me.
In addition to the "nature of being discarded", I use pure nature --
Bare clay and porcelainrarely glazed.
Mona NYS is alive with a muddy Fox. 2008)
Skeleton and silver, 169 pieces, 2 "x 8 "(
Provided by artists)
"It took me half my life to help business operators sell their goods as quickly as possible.
After years of being a professional designer in the advertising industry, I decided not to contribute to the payment of "new" objects.
I want to use art to convey an important ecological message.
"The Aesthetics of nature is superior, but I am re-arranging and putting on a" combination of horror and beauty ", "I want the audience to know nature in an uncomfortable distorted way, which will start a process of thinking beyond simple art --object.
I try to arrange an Earth. dialogue;
Present and distort something obvious
"I am worried about our interference with nature.
My project is based on exploring the impact of the extinction of thousands of species every year.
Kalle Juhani Nieminen is a visual artist from Helsinki, Finland.
His work is interesting and fragile, but he is always optimistic.
His art is a celebration of life. it is a celebration of both flowers and thorns. Mr.
Nieminen's answer is: "I have used several recycled materials in my works of art.
Recently, I collected soot from public ashtrays.
Other recycled or discarded materials I use in art have cardboard, beer bottles and cans, cast iron, different Wood
Basic materials, sixpack-
Shells and small objects.
I found my material from random places, sources and different situations.
I try to keep my eyes open all the time.
B-Khaler Juhani niminenDay (detail)(2010)
Site-specific installation of ash-
The beer in the sauna dressing room is variable in size (
Provided by artists)
"The starting point for art use and collection of these materials is my general interest in very cheap materials and the possibility of making art and expressing poor economic conditions.
Currently, I am working on soot and beer cans as it relates to material and conceptual addiction in contemporary Western society.
Overall my main theme is the border
The intersection and definition between happiness and slavery addiction.
"Aesthetic and ecological qualities can be combined with imagination, thinking and a strong attitude.
Garbage is just a word.
Art is the most extensive way for human beings.
This is a gap waiting to be filled with different shifting views.
"Frank Plante, currently working in a studio in Barcelona, Spain, makes sculptures that turn familiar sculptures into a subtle propaganda. Mr.
When creating familiar and unfamiliar works, Plant mixes his metaphor in a strategic, sometimes humorous way. Mr.
Plant's answer is: "I create my art with everything, anywhere.
Recently, the material I chose was the bone and crushed, flat, rusty old tin cans.
The bones I got from the butcher, and the jars I found next to the train track near Elche, Spain.
The law of the land, Frank Plante (2011)
Bone and steel, 21. 5" X 42" X 3" (
Provided by artists)
"Every material or object is inherently expressive.
For items found and recycled, I often deal with the weight of their previous incarnation.
In a way, I hijack these items to meet my needs and integrate them into the vocabulary I have previously established.
Objects found as pre-packaged bundles of value and aesthetic information.
"Recently, I worked with Flock (
Small fiber particles)
Especially the kind of railcar models used to create mini-landscapes.
This allows me to imitate organic materials and ask questions.
Some are social and some are political.
From the observation of the architectural boom in Spain, to the thinking of individuals, and asking if they were Gardens, what type of garden would they be?
Wild Forest or Palace of Versailles?
"My work is more political/social than philosophical, although one can see that they are intertwined.
I like to observe social and political dynamics.
Sometimes my article is just: an observation of said dynamics.
At other times they are commenting on these dynamics.
I like to focus on balance and imbalance, harmony and discord to discern "composition" or tone quality, not necessarily cut in the formal sense.
I think creative thinking is very important for thinking about social and political issues.
"The Art of Lina Puerta is immersed in the natural form, and she creates fantasy scenes where colors and textures are pushed to the limit, life blooms and bubbles from the surface.
But not perfect.
Have a feeling of danger
I don't know if something in the mix has toxic food for people close to it. Ms.
Puerta, who grew up in Columbia, South America, has her studio in New York City, USA. S. A. Ms.
Puerta's answer is: "I use foam plastic and wood to build the structural form of an item, with small plastic caps and items that are commonly found, such as things in a suitcase.
If I think of a specific material, like artificial plants, I try to buy it from a place where recycled materials are sold, such as film business, green buildings, thrift stores, if I am a non-
I may find the material from the art material.
"Your Highness the Princess"2011)
, Polyurethane foam, wood, resin, clay, paint, fabric, fiber filling, tree model, rhinestones, decoration, concept, beads, chain, hardware, cotton thread, acrylic sheet, artificial plants moss and foundobject, 40 "X 22" x 15. 5" (
Provided by artists)
"I don't remember the specific events, but I think as an artist with three jobs --
In terms of dimensions, you are well aware of everything that is formed in space, so objects that are discarded become so attractive or difficult to ignore.
Personally, I have always been interested in using different materials and textures, and often discarded materials naturally get interesting forms or surfaces because they have been used by time and wear
"We are one with nature, what we do to nature, what we do to ourselves.
Kevin William Reid's skateboarding, tattoos and street aesthetics power his work.
He turned the discovered and worn wood into a very cruel and beautiful story in his life --
Long-lasting aesthetics and beliefs. Mr.
Reid has his own studio in Brooklyn, USA. S. A. Mr.
Reed's answer is: "I recycle things like wood, scrap metal or scrap fabric, cast iron nails and windows at work.
I found these things in Brooklyn's industrial department that surround the naval base, a 30 to 40 block walk from my studio's warehouse building, the industrial loading dock, corporate garbage bins and general garbage dumps.
These become the basis of my "Dead Things" painting: half of it is a creature, half of it is a bone mash-up --ups.
Kevin William Reid growled and screamed2011)
, Found acrylic fiber on the Wood, 62 "X 79 ",(
Provided by artists)
"Since I was a child, I 've been fascinated by the dead as a craft material.
I found an inherent beauty in the abandoned wood and color palette.
Clearing, pulling apart, reconfiguring and reconnecting these elements reminds me of the same quality craftsmanship that my grandmother and I find bodies on her farm every summer.
"I hope the audience can see my work and find a different perspective on what is beautiful.
On the ecological side, my intention is not to spread green information or insight into ecological care in my work.
However, while this is not the original goal of my work, I feel that it does quietly highlight the ecological issue and that the audience may reconsider the "garbage" of them and their neighbors as something else ", something useful.
"In the past 75 years, death has become increasingly taboo in the United States, more and more avoidable, and more far away from society. S.
I think this is creating a less diligent, more vulnerable human group.
The objects found in my work act as a platform to convey to the audience that what is dead, discarded and abandoned is beautiful and nothing to fear.
"Riff has his own studio in Barcelona, Spain.
His art bridges the gap between humor and absurdity and fascinates us with new creative ways of looking at our everyday world.
He can bring animation to lifeless objects and improve mediocrity. Whatever Mr.
The main purpose of his art is to activate free thinking
The eyes of all of us. Mr.
Rifa's answer is: "There are several kinds of materials I use, such as old sewing machines, typewriters, or tools for the kitchen.
I like these materials because they are already attractive. .
Normally my friends and family will tell me in advance when they will throw something away and if the material is interesting I will pick it up and bring it to my studio for future use.
"Quim Rifa of lacosidora (2009)
, Mixed media and objects, 27. 5 "x 20" X 10 "(
Provided by artists)
"When I lived in Berlin, my relationship began to use materials as an art medium.
There, I had my first contact with the artist who used recycled materials as the main material of the work.
I was impressed by this potential because I didn't have a workshop or main material to use.
These artists have opened up a new world for me.
"My hope is that the aesthetics of my sculpture will inspire the public to think beyond the original purpose of the object and find new creative uses for them so that they do not appear on the street or garbage
"Artists use their language to reflect what is happening in society and society;
It is at this moment that waste made by human beings has brought great environmental problems to the world.
I want to help us make changes towards a better world. "David A.
Smith has his own studio in Peterborough, England.
His art is serious, focused and ominous.
When the surface he created was delicate and clear, his theme was unforgettable.
Smith redesigned natural materials, bones, teeth, minerals and a variety of native materials in his art.
This brings spiritual existence to his characters and life and death to his art. Mr.
Smith's answer: "I use a lot of natural materials that are easy to find if you know where to look.
In the past, I used discarded antlers or animal bones from various sources.
I would say that I am a sales person like a recycler. "David A. Smith, Glory (2010)
, Hard foam shape, eL wire, red deer antlers, glossy black finish, 35. 5" x 43" X 27. 5" (
Provided by artists)
"I have always been attracted to nature in one form or another.
Therefore, the most powerful surviving element after the death of the creature is its teeth or bones, or the antlers when the deer falls off them.
I think for me, the structures that life depends on are physically very special because they exist at the end of things.
These body components that survived the decay are fascinating and deserve some kind of investigation and celebration.
"Aesthetically, my goal is to attract the audience in a natural form, which is intertwined with technology, or decorated with luxurious decorations.
I would say that given that most of my work is focused on the elements found from death, or celebrating the recycling of natural forms, I would like to show in an ecological sense that nature is free of pollution
From the beginning to the end of life, it is based on instinct, sometimes ritual.
I know that natural form can be a very obvious approach, but it always has to apply light contact and careful consideration before any idea is implemented.
"I only try to produce what I love.
If this in turn creates a social or political discourse, then it will not be a negative outcome.
However, for the survival of nature, we still need balance and understanding to survive.
I think our harmony with the environment is not as high as we can.
Isa Tenhaeff has its own studio in Amsterdam, the Netherlands.
Her art is the physical world of psychological confrontation.
Her works and installations evoke a variety of emotions and feelings, from politics to fun, from mystery to threat.
Her art also has a weakness, a rather convincing weakness, which is sometimes confusing. Ms.
Tenhaeff's answer is: "For my art, I have collected from broken toys, precious costumes and architectural decorations, from garbage to fine arts prints, and my own college paintings
I'm looking for gems
"Quality" in the material I collect: these things are often broken or worn out
But there's a spark-
This is a classic power or beauty that I can use.
My object has to come up with a lot of different things (
Personal, public, historical, etc. ).
Isa tanhaf, trees in the forest2011)
Installation of mixed media, 138 "X 275. 5" (
Provided by artists)
"I work from the concepts of historical images and historical continuum, where patterns, composition, scale concepts, etc. are repeated.
As a sociologist, I was trained to observe people, as well as to observe patterns of behavior and the material results of such behavior.
In rough lines, images and structures are repeated over and over again, although details may vary.
I look for this pattern in "old" art and architecture and find similarities to the absurdity of today's world.
Similar to the idea of the gold ratio, I am looking for the best way to present these intangible references by ordering materials.
"History, meaning, and beauty are not about power, status, and priceless material, but about ordering or arranging on the building);
Find the Right "engineer" for installation and viewing ".
"Matthew George Richard Ward, from Christchurch in New Zealand and the surrounding countryside, creates highly conceptual, short-lived works that are extremely challenging and unique.
He continually advances his art in any direction, incorporating many levels from mediocrity to lofty conscious thinking and theory. Mr.
Ward's answer is: "I often recycle the materials I find that usually match my movements.
At present, I am a nomadic people, and my movements influence the works I have created.
Material may vary from internet sources to collection of personal documents found to be given away to borrowed items, or buy from the opportunity store, free bins or items I happen to be in the alley, or in a pile of boxes waiting to be picked up, something was found in the public toilet, in the government office-
It really depends on when and where I am or who I am.
Do I have a camera often.
I am active online, especially on Facebook.
Using a subjective displacement)
For storing and sharing images.
"Matthew George Richard Ward, wash it up with Coke, Temne language in Sierra Leone (
Install view)(2011)
, Mixed media, size variables (
Provided by artists)
"Since I discovered the Eastern religion, the relationship between useful and useless has always interested me (s)and philosophy.
We consume too much as human beings;
I am attracted by the phenomenon that exists between the subject and the object, or confused by the affectation of language in time and space, and how it affects our thinking about existence and non-existence and
What is the life of a person here, there?
I want to embrace this experience and look at the differences and dichotomy between self and others through the relationship between subject and object.
My work also involves pornographic content of information and communication.
My fascination with discarded materials may have to do with my adolescent interest in sound collage and sampling music.
"Through the reality and connection between our inner and outer worlds, I am open to new ways of looking.
I am affected by the change, sometimes the boundary between beauty and concealment, because what is the beauty in the mind of the audience?
When the media secretly saturates our thoughts, we are more and more influenced by its subconscious.
This saturation is inspiring to me and it helps me to discover and constantly redefine what it means to be a human and contemporary artist.
I am looking into the author and the idea of authenticity;
I believe that ideas, pragmatism and feelings are inseparable.
What is the necessity, what is the surplus?
I hope the audience of my work can consolidate these issues.
"I believe all art is political to some extent.
I am very interested in philosophy. some examples can include anarchy, new
Marxism, Taoism, Zen, Post
Capitalism and feminism
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