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The 8-piece collection brings new colors and materiality to the Eames catalog, marking the first Herman Miller and HAY collaboration.
A column of metallic type scales the former Zenger Transformer Substation in Prague, melding the historic venue with the visual identity of the new art institution housed in its space. Conceived by the Czech Republic-based Studio Najbrt, the uniquely positioned logo wraps vertically around the corn
Using the Brico System for letterpress printing requires thinking of every possible combination from A to Z. The simple method involves just four shapes to create typographic forms and geometric renderings, and it founded a recent collaboration between artist and printmaker Anthony Burrill, designer and printer Thomas Mayo, and Oli Bently, who helms the Leeds-based studio Split and the People Powered Press, a non-profit printer that’s the largest letterpress operation of its kind in the world.
Together, the trio created one monochromatic print of every letter, which span 1.5 meters. “With near endless possibilities of letter forms, weights, sizes, and styles, it was created so that anyone can share in the joy of type design,” they say.
Swollen, glistening, and saturated with illusion, the ubiquitous water drop absorbed Kim Tschang-Yeul throughout his career. The Korean artist, who died earlier this year, was faithful to the seemingly mundane subject matter, choosing to depict the dewy orbs repeatedly after an initial painting in 1972 following his relocation to France. Inspired originally by a water-soaked canvas in his studio, Kim nurtured the viscous element in his hyperrealistic paintings created across nearly five decades. In an essay about the artist’s unending commitment, Dr. Cleo Roberts writes:
It is a tendency that seems to unite many of Korea’s avant-garde who took from Art Informel in the early ‘60s, including Ha Chong-Hyun and Park Seo-Bo. In this generation of artists, there is a ritualistic devotion to a chosen form, process, and, at times, colour. One could venture that, in the context of living in a volatile country ravaged by war, the security of immersion in a singular mode was an empowering choice, and may have been a necessary psychological counterpoint.
Whether depicting a singular pendant-shaped drop or canvas strewn with perfectly round bulbs, each of the oil-based works exhibits a deft approach to shadow and texture. The bloated forms appear to bead on the surface and are imbued with a sense of impermanence: if disturbed by even a small movement, they look as if they could burst or run down the surface.