Hicham Berrada

Nurtured by a dual artistic and scientific background, Hicham Berrada’s work combines intuition and knowledge, science and poetry. In his works, he explores scientific protocols that mimic different natural processes and/or climatic conditions as closely as possible. “I try to control the phenomena I mobilize as a painter controls his pigments and brushes. My brushes and pigments would be temperature, magnetism, light.”

Anish Kapoor

Destierro – which translates from Spanish into ‘exile’[…] features three installations that see Kapoor veering back towards his signature style of work with pigmented powder. However, unlike his previous work, the three pieces on display in Argentina shine a spotlight on the global migration crisis marking a change in direction for Kapoor who has, up until recently, shied away from making political work.

Thomas Feuerstein

Manna Sculpture
The sculptures MANNA MACHINE are photobioreactors in which algae (Chlorella vulgaris) grow. The tubes and hoses form a drawing in space and are used for photosynthesis, similar to the leaves of a plant. The resulting biomass is filtered, dried and processed into pigment.

iris van herpen

sensory seas
runway LOOK 08

“The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal. He wanted to uncover something that no one had yet understood.
Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux. The collection consists 21 silhouettes that illustrate a portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in cloudedpools of blues and lilac, leaking into one another like marble.” Joanna Klein

Ana Montiel

Taking in her paintings is like opening your eyes after a nap in the sand. The colourful masses on her canvas appear to be in motion, plunging the spectator into a semi-conscious state. Beyond the merely pictorial, Ana Montiel’s works read like spiritual, dreamlike invitations, that hit you with a feeling of satisfaction and involuntary entrancement. Any tangible form looks acid-washed; a silhouette or a ray of sun gives way to a sfumato of light and pigments. The artist is interested in the conceptual issues of perception and phenomenology, based on the premise that reality is nothing but a collective and controlled hallucination.

Kimiko Yoshida

“Traditionnellement, les images du Genji sont appliquées sur la soie des kimonos, selon une antique technique japonaise de laque mêlée de poudre d’or ou d’argent appelée urushi-e. Ici, cette technique d’urushi-e, littéralement «image laquée», est appliquée sur mes propres autoportraits photographiques qui sont des impressions pigmentaires sur toile. Le dessin à la poudre d’or imite la broderie au fil d’or – il est tellement fin que la reproduction photographique de l’œuvre rend difficilement compte du raffinement de cette technique subtile.” Kimiko Yoshida

Hella Jongerius

Breathing Colour
“Hella Jongerius’ work puts colour center stage. Never one to folllow commercial trends, she has developed a use of colour that is uniquely her own. Jongerius has been researching colour pigments and the connection between colour, fabric and light for years.

Sterling Ruby

In ACTS—short for “Absolute Contempt for Total Serenity”—Ruby captures liquid dye inside clear urethane and balances these pure prisms atop scuffed, inscribed, and spray-painted Formica bases. These works expand upon his earlier Formica sculptures such as Big Grid/DB Deth (2008), a scratched-up monolith that exudes a cold, prisonlike institutional menace. In ACTS, the juxtaposition of unfeeling laminate slabs against vibrantly pigmented urethane is a potent one; it transforms the urethane from a passive, glassy vitrine into an active agent of incarceration that suffocates the blossoming furls of dye.


Томас Робсон
توماس روبسون
Fluid Pigments

Thomas Robson es un diseñador gráfico procedente de Belfast, United Kingdom, con más de 18 años de experiencia, y un galardonado diseñador BBC. Thomas , está especializado en las áreas de diseño interactivo para web y televisión (sobre todo en e-Learning), además de la gestión de proyectos de diseño de gran escala. En la actualidad explora las fronteras entre el diseño gráfico y las obras de arte con espectaculares y provocadores imágenes.


جينكس سام
Jinks vytváří sochy pomocí osvědčené kombinace silikonu, pigmentu, pryskyřice a lidských chlupů a vlasů. Díky pečlivé práci a modelování vytváří nejprve samotnou sochu tvarově a poté patologickou prací domodelovává jednotlivé sochy a vpravuje jim chlupy i vlasy pod kůži. Jde v podstatě o ukázku zručnosti a posunutí vnímání sochy do jiné rovy už samotnými materiály a postupem.

Amy Brener

Эми Бренер

A artista Amy Brener desenvolveu um método de camadas de resina para criar esculturas sensíveis à luz. A produção dessas obras envolve uma técnica de mistura intensa de resina pigmentada despejada em estruturas de madeira. Brener experencia dentro deste processo fluido de camadas e incorporação, todas as surpresas que ocorrem. O resultado final é um objeto que se revela continuamente para o telespectador. As esculturas de Brener ganham vida enquanto você se move em torno delas, mudando a cada alteração de luz. Suas formas são em escala humana. As suas superfícies são crostas complexas que parecem ter rachado, cristalizado e resistido com o tempo.


New Age Demanded
“Inspired by classical Greek busts, Jon Rafman uses computer software to digitally render three-dimensional forms. The forms act as the structural surface on which two-dimensional Internet-sourced images are applied. The series is presented as large-scale archival pigment digital prints. Each print is created with its own specific texture and sculptural mutation. Rafman uses historically recognizable works from canonized artists like Mark Rothko, Georgia O’Keeffe, Piet Mondrian, and Wassily Kandinsky as the subjects of his appropriations.”

Willy Verginer

ciuria de foies

These lifelike sculptures are typically carved from solid linden wood then painted with acrylic paint. Their subtle but strange gestures coupled with unexpected objects give the sculptures a quietly surreal atmosphere. Verginer’s peculiar style of painting his work adds to each piece’s enigmatic quality. Rather than realistically paint each individual detail, Verginer applies large swaths of color to his sculptures. The pieces nearly seem to be dipped in pools of pigment. These large fields of color work in contrasting against the realism of each sculpture.


Untitled (Black Block)

John McCracken (1934-2011) developed his early sculptural work while studying painting at the California College of Arts and Crafts in Oakland in the late 1950s and early 1960s. While experimenting with increasingly three-dimensional canvases, the artist began to produce objects made with industrial materials, including plywood, sprayed lacquer, and pigmented resin, creating the highly reflective, smooth surfaces that he was to become known for.


Light Calligraphy
File Festival

The use of a single-chip IC to control the machine’s arm is like Chinese calligraphy’s motion related to Zen. The machine’s arm draws the light with the motion of Chinese calligraphy on the wall with the absorb pigment (Chemistry: ZnS). The viewer can pursue and touch the light point. When he touches the light point, he can fix his shadow on the wall, what gives the illusion of catching the light. In the process of pursuing and touching the light point, the viewer and the machine’s arm move to


فيكتوريا فيسنا
Blue Morph von der Medienkünstlerin Victoria Vesna und dem Nanowissenschaftler James Gimzewski ist eine intuitive Installation, die nanoskalige Bilder und Töne aus der Metamorphose einer Raupe in einer Motte als Kulisse für die menschliche Schaffung von Flugapparaten verwendet. Der Schall wurde aufgezeichnet, indem die Bewegungen der Puppenoberfläche unter Verwendung der Rasterkraftmikroskopie (AFM) während der Umwandlung von einem Zustand in einen anderen ihrer Entwicklung gemessen wurden.Es ist wahr, dass wir uns vorstellen, dass Motten still und bunt sind. Sie erzeugen jedoch intensives und unhörbares Geräusch. Die für das menschliche Auge sichtbare Farbe ist kein Pigment, sondern eine optische Täuschung, die durch die genaue Anordnung des biologischen Materials auf der Oberfläche erzeugt wird und durch dieses Nanotrama die Strukturfarbe erzeugt.In der Installation werden nicht nur das Unhörbare hörbar und das Unsichtbare sichtbar gemacht, sondern auch Nachrichten über Fluggeräte von Männern projiziert, wie Flugzeugverspätungen, Unfälle, Bombenanschläge, Satellitenschüsseln, Raketenstart und UFO-Beobachtung. Die Arbeit entsteht in Geräuschen und Handlungen nur, wenn der Besucher still und still ist.So versuchen Künstler in Blue Morph, biologische Systeme als eine Mischung aus Schönheit und Eleganz der Natur als die lauten Maschinen und Systeme zu interpretieren, die vom Menschen hergestellt werden. Der Blick nach innen und außen sowie die Dekonstruktion unserer mechanistischen Sicht auf die Welt spiegeln sich in den nanophoton manipulierten Photonen wider, was an sich eine Metapher der nanotechnologischen Ära suggeriert.



ll works are printed using pigment-based inks on Hahnemühle archival paper, variable dimensions, edition of 3+1 ap.
“Quasi-Objects” is an art project consisting of 3d generated videos and prints, a practice of “organic re-design” – started in 2003 and still in progress – that aims to stimulate thought and dialogue on the progressive relativisation of natural forms of life as a result of techno-biological evolution.“Quasi-Objects” regards data actualization, the production of biologically non-functional organisms and ecosystems as transient output of an operative practice: aesthetics of process.
“Life is a real and autonomous process independent from any specific material manifestation.”


Аниш Капур
Arcelor Mittal Orbit
Award winning London-based artist Anish Kapoor has been given the commission of a lifetime to design the spectacular new public attraction in the Olympic Park. The stunning artwork, to be entitled ‘The ArcelorMittal Orbit’, will ensure the Park remains an unrivalled visitor destination following the 2012 Games, providing the key Olympic legacy Mayor of London Boris Johnson envisaged for the East End.The breathtaking sculpture – thought to be the tallest in the UK – will consist of a continuous looping lattice of tubular steel. Standing at a gigantic 115m, it will be 22m taller than the Statue of Liberty in New York and offer unparalleled views of the entire 250 acres of the Olympic Park and London’s skyline from a special viewing platform. Visitors will be able to take a trip up the statuesque structure in a huge lift and will have the option of walking down the spiralling staircase.One of the world’s most distinguished contemporary artists, Turner Prize winning Anish Kapoor studied in London, where he is now based. He is well known for his use of rich pigment and imposing, yet popular works, such as the vast, fleshy and trumpet-like Marsyas, which filled the Tate’s Turbine Hall as part of the Unilever Series, the giant reflecting, pod like sculpture Cloud Gate in Chicago’s Millennium Park and his recent record breaking show at the Royal Academy, the most successful exhibition ever presented by a contemporary artist in London.