It’s all about Hyper realism today. And I have to admit that this is not about beauty – just the technic is so crazy that it made me wanna’ get an eye on this today!
I thought of Ron Mueck ( http://www.anninaroescheisen.com/art/contemporary-art/ron-mueck/ ), when I saw the work of Sam jinks. Both of them come from Australia and work in a stunning same way. Although their themes can vary and lets say, thank God, they do:). They both work around the human body, but I think in the faces and postures you can make the difference between Mueck and Jinks, both creators of silicone sculptures.

Jinks himself:

Jinks had his first solo exhibition not that far ago: in 2005 at West Space, Melbourne. His background is not the art world but the cinema and TV and the special effects. Thats where he learned how to mold and cast sculptures, using latex and silicone… Welcome to the Art World Sam!

definitely my favorite!

Check for more here:
www.samjinks.com/

The symbolic meaning of feathers are often put and read in a spiritual context, like for example feathers in context with the Native Americans.
There feathers deal with ascension and spiritual evolution to a higher plane. Feathers were worn by Native American Chiefs to symbolize their communication with the spirits; furthermore to express their celestial wisdom. In the Native American Indian culture, feathers represented the power of the thunder gods, along with the power of air and wind.

Well Ian Davey is not a Native American, neither he sees absolutely feathers in this context – but I think it gives a whole new reading to his pieces if you put his feathers into a higher, more spiritual context. This 48 old British Contemporary artist draws his paintings on Swan feathers that he collects on the ground.

I admit, it’s a little bit kitsch and repetitive, but so so beautiful and fine. So Yes! I am a FAN!

Each single feather can take up to a week to be painted as it’s quite a delicate work. In my eyes that’s what makes them even more precious, beautiful and I love the fragility of the object in general.

Ian Davey lives in a converted farmhouse in Snowdonia National Park, Wales. His feathers come from a nearby swannery, but Davey underlines that he only uses feathers that naturally felt down on the ground. Afterwards his artistic process starts by cleaning every single feather and by straightening them with tweezers. He prepares sketches of his drawings. Before painting directly on the feathers he applies a primer and works with a special acrylic paint that protects the feather. To nail the most detailed parts, Ian uses a specialized 000-size brush. Waouh! What a meticulous work!

Last glances and I hope you it, as much as I did to share his work with you!

What? Dynamo “A century of light and motion in art, 1913- 2013″
When? 10th of Aprril 2013 to 22nd of July 2013.
Where? At the Grand Palais in Paris

Topic: Space, vision and light. The abstract art of the 20th century with artists such as Ann Veronica Janssens, Anish Kapoor, John Armleder, Carsten Höller, Philippe Decrauzat, Jeppe Hein, Felice Varini and Xavier Veilhan.

“By putting vibration along with the spectator’s perception in the centre of their works, they set up multiple resonances with optical and kinetic art, which first emerged at the Movement exhibition in Denise René’s Paris gallery in 1955, but also, more broadly, with what was later called “perceptual art” at the exhibition The Responsive Eye at the Museum of Modern Art in New York in 1965.”

Two of my favorites in there:
Alexander Calder (just love him – and the shadow heart on the wall:)

Timo Naseri

http://www.grandpalais.fr