Tobias Putrih

A, H, O, I, ! …
在视觉艺术与建筑之间不断变化的边界上,托比亚斯·普特里赫(Tobias Putrih)的结构可以满足建筑程序的需求,可以代表艺术品本身,也可以作为其他作品的展示。参考文献的融合意味着,在所有情况下,他的作品都通过提及1960年代的建构主义项目和短暂建筑,或者通过与包含现代建筑的纯净几何结构的对比,唤起了20世纪对现代性的某种记忆。与电影及其设备的关系加强了这种空间实验,这是电影形式所指的同一现代性的重要里程碑。在露台上Putrih拥有无形的皮肤,其视频投影空间采用模块化的木材和纸板结构,其线条灵感来自奥斯卡·尼迈耶(Oscar Niemeyer)设计的Palácioda Alvorada的柱子。除了向巴西利亚致敬之外,艺术家还进行了遮盖过程,其中宫殿的清晰而灿烂的支撑点被复杂的皮肤覆盖,这些皮肤重申并抵制了整体的轻盈,使保护性皮肤成为对象沉思的。
UVA UNITED VISUAL ARTISTS

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
volume
Volume is one of the projects that could be bestowed with the adjective “poetic“. Composed of multiple columns, this scultpure, both luminous and sound, comes to life as the participants travel in it. The more visitors there are, the more the “forest” is adorned with bewitching colors and sounds, harmoniously blending interaction with immersion.
United Visual Artists

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
our time
Our Time (2016) is the latest large-scale installation by United Visual Artists investigating our subjective experience of the passing of time. How long is a moment? At what rate does time actually pass? The work joins a series of kinetic sculptures that began with Momentum (2013); an installation designed as a ‘spatial instrument’ that was to reveal the relationship between expectation and perception when intersected with a physical space.
Our Time defines a physical environment where pendulums swing at a pace apparently unhindered by the laws of nature and where no single time measurement applies. The installation combines movement, light and sound as a multi-sensory, multi-dimensional canvas the visitor can enter. Pendulums swing, each to their own rhythm, as time flows through the grid. With light tracing the path and sound its echo, the passing of time becomes almost palpable.