Francesco Jodice – What We Want, Hong Kong, T47, 2006
Ever been to a place and felt that it is not quite satisfactory in terms of how it looks? Well, Francesco Jodice is recreating spaces into what they should be if we had control of them. For a long time, people’s lives were influenced by the buildings that existed but the trend is taking a turn. Not even urban planners, engineers or architects can dictate life upon humanity anymore, this is the message that is being communicated by the ‘What We Want’ series. The project is centered around photography and modification of imagery.
Yayoi Kusama – Pumpkin, 1994, Benesse Art Site, Naoshima, Japan
Celebrating her 90th birthday in 2019, Yayoi Kusama is a leading Japanese artist and legend as far as art is concerned. While she deliberately makes unique pieces that can withstand the wear and tear of the outdoors, she is renowned for reproducing her art in monumental scale when need be. Her career spans over 6 decades and during this time her works have managed to enter the collection of museums such as the New York MoMA, LACMA, Tate Modern and others.
Andreas Gursky – Kuwait Stock Exchange II, 2007
Photo: Andreas Gursky/VG Bild-Kunst, Courtesy Sprüth Magers, Berlin London
Andreas Gursky is a German photographer and professor. He is most well known for large format architecture and landscape color photos, and following the 1990’s; Gursky has been using technology and computers for editing and enhancing his photos.
Gursky is known for using an elevated vantage point as his main perspective. This allows the audience to view the scenes from a place that is both peripheral and central. Using each subject to create an unconventional geometry, he organizes the world fitting in with his personal visual logic. He began his portrayals of stock exchanges in 1990 and has continued this project throughout his career. Projects like this lead towards his visit to North Korea as well as a photos of concerts, sport events and other large-scale events.
Zhang Huan – Sydney Buddha, left: Aluminium Buddha, 370x290x260cm, right: Ash Buddha, 350x480x290cm, Carriageworks, Sydney, Australia, 2015
Zhang Huan, born in 1965, started out his career as a painter and then moved to performance art and then resorted back to painting. He is also a sculptor and photographer, but his main focus is being a performance artist. Throughout his career, he has made extensive use of ash, and even built a few sculptures with it. Zhang says that he considers ash to be symbolic as it represents the hopes and the prayers of those who usually burn the incense. To him, the ash sculptures represent collective blessing, memory, and soul of the Chinese people. The ash is collected from various temples in Shanghai, a time-consuming process that involves many hands.