Blasco-Backyard with Building
"Blasco-Backyard with Building", Holz/Fotografie, 93 x 73 x 43 cm
The Spanish artist Isidro Blasco (b. 1962 in Madrid, Spain), who lives in New York since 1996, is best known for installations and photo-sculptures, digital photographs mounted to armatures of wood and foam, informed by architecture and cubism. His three dimensional constructions reconstruct interior spaces and his latest works focuses on the exterior world, outdoor environments culled from the New York cityscape. He combines architecture, photography and installation with the central themes of vision and perception in relation to physical experience. The motives of his newest works show his fear of the current political climate and reaction to the nightly news. So corporate offices sprout from the rooftops of townhouses and thin strips of wood replace buildings cropped out of the picture in his off-kilter vision, while billowing clouds and smoke obscuring the sky ominous reminders of 9/11 and the current age of anxiety.
Tim White-Sobieski's (b.1967) installation Deconstructed Cities / Deconstructed Reality currently includes 4 prints and 4-channel video projection. The entire project includes 30+ large-scale photographs dedicated to biggest megapolises of the world; cities include London, Paris, Berlin, Tokyo, New York, Los Angeles, San Francisco, Rio de Janeiro. Aesthetically the project is based on aspiration to analyze contemporary human environment, which has its architectural counterpoint in big cities. The video currently contains images of New York City deconstructed and re-assembled into a new virtual reality.
Deconstructed Reality arrives also as a development of the artist's state of uncertainty. Within the assumption that reality is unknowable, he makes an emphasis on fragmentation of reality. For White-Sobieski, perception of reality is a construction and/or a game, and at the times of intellectual or emotional crises, his reality falls apart "deconstructed". This series is thoroughly postmodern in the sense that it transforms the medium of art - permanent and transcendental - into multiplicity and anonymity. The video locks the audience into transformations of the image and embraces the avant-garde of disruptive approach (long ago present in Duchamp's and Warhol's work).