大卫斯普里格斯
הדוד ספריגס
ДЭВИД СПРИГГС

GOLD

source: davidspriggs
Gold is the latest in David Spriggs’ chromatic artwork series of Stratachromes that examine contemporary symbolic meanings of color. Spriggs’ monumental installation presents eleven inverted yellow-golden human figures painted on layers of transparent sheets that are hung within an inverted pyramid structure. Initially reminiscent of the pediment of the New York Stock Exchange, Gold, in the spirit of pittura infamante (defaming portrait) turns the glory of capitalism on its apex, revealing its current precarious state. It speaks to the widening inequity within the Global Wealth Pyramid and the concentration of excessive wealth and corresponding power into the hands of a select few.

It is fitting that this provocative art work is on display in the central business district in downtown Pittsburgh, also known as the Golden Triangle. This historic location dates back to the gilded age. It is to that age the nation’s current political leadership seek’s to return, in their quest to remake the current America into some idolized great state. But is that even possible or is such a return an illusion? And if not an illusion, will the result be to repeat that period’s excesses and failures?

The viewer may be unsettled by the mirage-like-forms and suggestively paganic imagery. Is this intensely-saturated golden color representative of fools or of wealth? Yet we note that the figures of the artwork are not engaged in various forms of industry, in service to a central Goddess of Commerce, but rather are subservient, aloof or apart. Such is the relationship of many with today’s economy.
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source: designisthis

British artist David Spriggs creates stunning three dimensional art installations that lie in a space between 2 and 3 dimensions. These unique artworks overwhelm the viewer, by bringing together painting, drawing, photography, digital-modeling, and sculpture, to create a spatial topographic system

Spriggs’ artworks are made with superimposed layers of thin translucent film enclosed in Plexiglas, a technique he developed in 1999. The goal was to create the illusion of a three-dimensional landscape by using two dimensional elements, he has been exploring and perfecting this technique ever since. By giving his works a carefully crafted dynamic dimension, David Spriggs plays with the usual conventions of artistic representation in a clever way, he instills his works movement, combined with a sense of discovery as the images slowly “reveal” themselves to the viewer.

In order to compose his amazing art installations, initially Spriggs airbrushes two-dimensional images onto multiple sheets of transparent film, then the transparent films are positioned together, one in front of the other, to form a three dimensional object. The exhibited form is defined by the horizontal cuts and changes form depending on the viewing angle, essentially dismantling itself and coming together again in an act of cinematic play. His amorphous objects have the appearance of being suspended, contained and locked in a frozen moment, where time becomes a stratified cartography. The forms are illuminated and encased in museological terrariums (like scientific controlled experiments) becoming “alienated from their surroundings and open to observation and interpretation”.

These spectacular installation based artworks are in constant vacillation between the worlds of 2D and 3D, exploring the use of three-dimensional space in an innovative, unexpected and almost scientific way. His thick, deep frames invite you to get lost within their painted folds, layering images on top of each other to create an impossible depth. The subjects depicted in his work relate to the breakdown and recreation of form and volume, and to complicated and multidimensional terms, such as “power”, “vision” and “perception”. These complex meanings are resented visually by forces, such as cyclone, explosions and clouds.

David Spriggs is currently based in Montreal. He was born in 1978 in Manchester, England, and immigrated to Canada in 1992. He received his Master of Fine Arts from Concordia University, Montreal, and his Bachelor of Fine Arts from Emily Carr University in Vancouver. He recently participated in the Public Art and New Artistic Strategies program at the Bauhaus University in Weimar, Germany and has exhibited his work in New York, Toronto, London, Calgary, Vancouver and Germany.
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source: 13doorsru

Дэвид Сприггс (David Spriggs) – один из тех, кто сделал сказку былью.
Когда в нашу жизнь широко вошла индустрия 3D-кино, никто и думать не мог, что тут же появится возможность смотреть на прежде плоские двухмерные изображения без специальных очков, а просто обходя объект вокруг. Но художники – народ непредсказуемый. Их творческое воображение, вдохновлённое новыми технологиями, породило то, что теперь принято называть 3D-картинами.

Один из последователей изобретения Xia Xiaowan, Дэвид Сприггс не только достиг совершенства прообразов – 3D-картин китайского художника, но и внёс в технологию их изготовления свои нововведения, усовершенствовав и добавив космичности и одухотворённости изображениям.

В отличие от стеклянных панелей, которые использует в своих работах Xia Xiaowan, Дэвид решил пойти своим путём и наносит рисунок на тонкие пластиковые листы. Эти рисунки он соединяет вместе достаточно плотно, почти не оставляя зазоров, что придаёт его 3D-картинам вид монолитного изображения, словно впаянного в большой кусок полупрозрачного камня.

Основная тематика таких 3D-картин – космос, вселенная, духовное возрождение. Мириады звёзд, на огромной скорости проносящихся по бесконечному космическому пространству, и то, словно летящих на зрителя, вовлекая того в свой искрящийся поток, то причудливыми спиралями завихряющиеся на расстоянии, словно изящная кошка позирует, поглядывая холодным взором на того, кто, зачарованный этой красотой, замер в восхищении.

Но есть и такие изображения, которые заставляют всматриваться не от того, что те завораживают своей красотой. Нечто скорее пугающее своей неестественностью, размытостью и едва угадываемыми человеческими контурами повисает в пространстве аморфной массой и, кажется, постоянно движется, вновь и вновь меняя очертания.

Акриловые краски, которыми пользуется художник, нанося их на каждый слой пластика сообразно эскизам, в которых продумано с доскональностью положение каждого слоя в пространстве и его сочетание со всей композицией в целом, создают невероятные фантастические картины, перед которыми замирает сердце. Они дают почву для размышлений, уводя в фантазии и пробирая до самой глубины души, словно кусочек космоса выхвачен ловкой рукой художника, заключён в пластиковый контейнер снов и подарен вот так просто – каждому.
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source: davidspriggs

My interest in clouds and atmospheric phenomena is not one so much of learning about them as natural phenomena, but rather an interest in their symbolic nature and representation. The cloud is an ephemeral form, without boundaries, and in constant change; interesting properties that in the context of history of art find affinity with Futurist theories and certain concepts of the light and space artists of the 60/70′s on the nature of space and form. In the digital world, the cloud has become the prime symbol of information, while in psychology it symbolizes our consciousness. The cloud as a symbol then gives a conceptual dimension to an otherwise abstract space; that of wires and data channels, neurons and pathways. The relationships between information and consciousness, chaos and order, motion and stasis, and between form and space, are the subjects of ‘Perceptual Consciousness’.