What caught my eye was his piece entitled “/Building/ No. 36. Passage Space Hinge”.
Insley’s usage of monotonic lines to create a isometric perspective work of art is a bit overwhelming in areas. The patterns of lines work together to create a three-dimensional structure which appears to be moving underneath the surface. The over-use of Pointillism is quite plentiful; this is more pronounced on the areas outside of the structure.
It is quite obvious that Insley felt his work as a potential architect would have been more appreciated on canvas instead of rolled
away on a blueprint. After finding this piece, I decided to dig around some to find the real ‘meaning’ behind his work. The artist described his own interests as having “very little to do with advanced planning theories of the present” and no relation really at all to the ”utopias of the future, but rather with the dark cities of mythology, which exist outside of normal times in some strange location of extremity.”
Insley’s monolithic project ‘Foundations OneCity’ took around fourty years of his time, starting in the 1950s.
Building 36, on display at the NC Museum of Art
The idea behind OneCity was to have the United States encompass “one city” that spread from the Rocky Mountains to the Mississippi and would be the home of 400 million people. The city was composed of 14,000 city square buildings, each 2-and-a-half-miles wide and each containing 100 rooms. The grandiose structure is designed to divide the ‘day people’ or normals, and ‘night people’ aka weirdos between upper and lower sections, respectively.
Insley’s contemporary, seemingly endless lines and points are truly hypnotizing and bring on a world of wonder.
Photorealism, Hyperrealism or simply put realism; by definition the idea behind realist art is the accomplishment of replicating an object found IRL or within our 3rd dimension. I’ve found myself more than once within the argument that the ‘prestige artist’ highest-level of artistry is one who can achieve mastery of this technique. I absolutely respect the ability to achieve such a level-of-being within the realm of our artscape however I personally do not believe this classifies an artist as the highest level or ultimate, in my opinion it simply allocates the artist into the realm of the refined elitest for their chosen style. Technique exemplifies the personality or characteristics of the artist, the technique should reflect and demonstrate how they see the world; which is exactly what this does but in a very retentive and extremely disciplined manner, and yes the notable characteristics of this skill are nothing short of amazing. In my short time on this planet I’ve came across some very extraordinary hyperrealist artists who have absolutely impressed me beyond my expectations First being Roberto Bernardi. Originating in Italy he had his start as a young child using oils later progressing as a restoration artist at the Church of San Francesco a Ripa. Later in the early 90’s he began his focus on photorealism, ultimately leading to hyperrealism. His mastery of hyperrealism in oil lead him on his journey to becoming a world renowned artist. His work has been published in the most prestigious art magazines and galleries throughout the world.
Here are some samples from his galleries:
You can see more of his work within his virtual gallery found here:
Second yet not in quality, a different spectrum rather is the hyperrealism brought to life by Joongwon Jeong. His paintings are what I yearned to see after studying the marble statuary of the greeks. His work satisfies a curiosity shared by many which is a major part of what makes his work so appealing, this in conjunction with his innate ability to encompass details of the subject to a painfully accurate degree make him a master of hyperrealistic artistry. Inspired by Michaelangelo his paintings are commonly mistaken for photographs; very large photographs. Jeong hails from South Korea and uses Acrylic as his medium.
Calls are open to all local, domestic, national and international professional and amateur artists. All art mediums will be considered in this call for submissions, from photography, wall sculpture, fabric, mixed media, all paintings and drawings including, oil, acrylic, pastels, ink, graphite, etc. Sizes up to 12 feet are acceptable. Work must be able to be hung on a wall to be considered for the live exhibition. Freestanding 3D artworks will be displayed online only. We are now accepting video and poetry entries for online shows.
Accepted entries for this online exhibition will be judged again in the coming months for a collective live exhibition at our Los Angeles gallery. The artists will be asked if they wish to submit their artwork for the collective exhibition, which is not a requirement to being a part of the online exhibition.
DEADLINE FOR THIS CALL FOR SUBMISSIONS: July 14th, 2014
Cost: $35 for 3 entries, $5 for additional entries.