Here is an interesting spin on an African figure celebrated throughout much of Africa and the Diaspora, Mami Wata. For those who do not know, Mami Wata (Mother Water) is a water spirit that is the bringer of good fortune, a healer of the sick, a nurturing mother and a complex representation of good versus evil. She inspires a vast array of beliefs and emotions in those who worship her due to the endless possibilities that she represents; her destructive potential and her life-bearing gifts.

Often portrayed as a mermaid, a snake charmer, or a combination of both, Mami Wata is described as a woman of excessive beauty with her most definitive look being long, black hair. It is very common to have people create works of art about her given her physical form and comprehensive history. (more images)

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Dedicated to the Cultural Preservation of the African Aesthetic


Nava Lubels

My work explores the contradictions between the impulse to destroy and the compulsion to mend. I juxtapose rapid acts of destruction, such as spilling and cutting, with painstaking, restorative labor. Embroideries are hand-stitched over stains and rips, contrasting the accidental with the meticulous, constructing narrative from randomness and mistake. The initial marks are found on linens or are created by cutting and staining canvas. The work scrambles expressions of aggression with masochistic patience and sublimation and plays with the feminine through the graphic form of the “stain” and the adding of peek-a-boo, lace inlays to repair cut holes that expose the hidden space behind the canvas. Shadows on the wall add a sculptural dimension and some pieces are hung off the wall to reveal the secret and unintended marks of the verso. Thanks Rhumboogie




Min Jung-Yeon (b.1979, South Korea/France)

In Min Jung-Yeon’s work, drawing is a kind of breathing, a cathartic process that allows her to displace her anxieties and her passions - out of herself. Straight lines and fluid outlines, feminine shapes and masculine structures… those opposite and complementary components form the artistic universe of Min Jung-Yeon, who expresses in her works the never-ending creation, construction, evolution and destruction process. For some time she has been looking into refining more, keeping “the essential” in her compositions, creating a scenography that puts the form forward – an emphasised form - without abandoning her research on the articulation between space and form. (src. Galerie Maria Lund)

Folding the window, unfolding the door @ YIA ART FAIR
Galerie Maria Lund - 10.23-10.26.2014 
© All images courtesy of the artist

[more Min Jung-Yeon]


thru Sept 7:

13 Most Wanted Men: Andy Warhol and the 1964 World’s Fair

Queens Museum, Flushing Meadows Corona Park, Queens, NY

The exhibition takes Warhol’s 13 Most Wanted Men as its single subject, addressing its creation and destruction and placing it in its artistic and social context by combining art, documentation, and archival material. 50 years have passed since an up-and-coming Pop provocateur named Andy Warhol sparked a minor scandal at the 1964 New York World’s Fair. As part of a prominent set of public commissions for the Philip Johnson-designed New York State Pavilion’s exterior, Warhol chose to enlarge mug shots from a NYPD booklet featuring the 13 most wanted criminals of 1962. Forming a chessboard of front and profile views, 13 Most Wanted Men was installed by April 15, 1964, and painted over by Fair officials’ direction with silver paint a few days later.


Magic: the Gathering - Magic Origins Eldrazi

With the Eldrazi hanging out in all the Magic Origins (last core set) art work, we should probably do a quick review on these monsters -

The Eldrazi are an ancient race native to the Blind Eternities that have neither physical form nor color alignment. Their nature is ceaseless hunger, so they travel between planes devouring the mana and life energy until the plane’s destruction.

All Eldrazi descend from one of the three Eldrazi titans:
• Emrakul,
• Ulamog, and
• Kozilek.

The Eldrazi were colossal predators that roamed the Æther, devouring the mana and life energy of any plane they encountered, leaving lifeless husks in their wake. Recognizing the danger to countless planes, a trio of planeswalkers of old lured the Eldrazi to the mana-rich world of Zendikar, trapping them in material form and confining them on the plane using unimaginably powerful magic.

But their prison was tenuous. Several short centuries after their imprisonment, the Eldrazi came close to breaking free, rising up to feed upon the mana and lifeforce of Zendikar, nearly reducing it to a wasteland. The very presence of the colossal Eldrazi caused a host of bizarre, lesser drone-creatures to spring into existence: the brood lineages. But the Eldrazi were reimprisoned and the brood lineages along with them. Zendikar slowly recovered, but its ecosystem mutated, becoming stranger, fiercer, and more volatile in reaction to the Eldrazi predation.

And now, thousands of years since they last fed on the plane, the Eldrazi stir once more. A recent disturbance by three planeswalkers at the Eye of Ugin chamber loosened the bonds that kept the Eldrazi in torpor, and they rise to feed on the life of Zendikar again. Across the plane, the dormant stone hedrons come to life, changing or combining into bizarre superstructures, bending the laws of nature around them. A new generation of the brood lineages shudders into existence around their colossal progenitors, and the carnage is immediate.


Arran Gregory

To draw attention to the plight of endangered animals, like the Amur Leopard, sculptor Arran Gregory, transforms their silhouettes into attractive sculptural forms. Staring into the mirrored surfaces and structural forms of the his artworks, the visitors confront their own reflection. This revelatory moment creates a unique opportunity for the visitor to reflect upon our own societal role in the destruction of their natural habitats and erasure of these beautiful creatures. 

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  1. 20 Mirrored Amur Leopards, from the exhibition ‘HUNT’ at London’s Truman Brewery, 2015
  2. ‘Mirror Amur Leopard’, 2015. Mirror, Fiberglass and steel. 1/20, 240 x 40 x 76 cm.
  3. Mirrored Amur leopard and enamel geo leopard (left) at exhibition ‘HUNT’ at London’s Truman Brewery, 2015. 
  4. Sprint, Wood, paint, steel wire., 2200 × 1600 × 300mm, 2015
  5. Mirror Rhino, Mirror, steel, jesmonite, 840 × 640 × 740mm, 2011
  6. Hunting, screen prints, 60 x 50cm. Hahnemuhle German etching paper 300 gsm. 2015
  7. Sprint, Wood, paint, steel wire., 2200 × 1600 × 300mm, 2015
  8. Mind frame #2 (of the lion), Pine & paint., 370 × 500 × 500mm, 2013
  9. Mirror Wolf, Mirror, Fiberglass., 1850 × 1000 × 850mm, 2012
  10. Preparatory conceptual sketches, 2015, images posted with permission of the artist.

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Derek Lerner

Asvirus 36, 49, 58, 27

artist statement:

“…I’m constantly evolving the array of forms/elements within the visual language I use throughout my work. Each element is not intended to have a singular or literal interpretation. For example, dense amorphous void like shapes represent cancer, glaciers, particles, pathogens, black holes, islands, etc.. These elements are more so often than not, intended to express intrusive dominating and destructive foreign bodies, however, in the same breath they can and should be viewed as neutral and peaceful entities. This type of duality, contradiction and conflict permeates through the work. There is an intended unfinished quality to the drawings. My aim is to imply a sense of growth and/or movement. I leave the work “unfinished” whereby lines that are not actually made, but still yet, a viewers mind may subconsciously make a leap visualizing them, even though the marks are not present…”



Gonçalo Mabunda: Masks

Gonçalo Mabunda is interested in the collective memory of his country, Mozambique, which has only recently emerged from a long and terrible civil war. He works with arms recovered in 1992 at the end of the sixteen-year conflict that divided the region.

In his sculpture, he gives anthropomorphic forms to AK47s, rocket launchers, pistols and other objects of destruction. While the masks could be said to draw on a local history of traditional African art, Mabunda’s work takes on a striking Modernist edge akin to imagery by Braque and Picasso. The deactivated weapons of war carry strong political connotations, yet the beautiful objects he creates also convey a positive reflection on the transformative power of art and the resilience and creativity of African civilian societies.

Ready for the PEACOCKalypse? Opening May 16, “Filthy Lucre” re-imagines James McNeill Whistler’s famed “Peacock Room”—an icon of American art—as a decadent ruin collapsing under the weight of its own creative excess. Forging a link between inventive and destructive forces, “Filthy Lucre” forms the centerpiece of an unprecedented exhibition that highlights the complicated tensions between art and money, ego and patronage, and acts of creative expression in the 19th century and today.  

Like the Peacock Room, “Filthy Lucre” is a total work of art. Every surface is encrusted with gold or dripping with paint. Gilded stalactites hang from surfaces. Splintered shelves buckle and tilt. Brightly colored ceramics drip with glaze or shatter, their debris littering the floor. An eerie glow seeps between the shutters, while a haunting soundscape by the band BETTY emanates from the walls.

The museums will host special after-hours events to celebrate the exhibition, including Third Thursdays open houses May 21, June 18 and July 16 featuring special guests and one-of-a-kind activities, and an always-popular Asia After Dark party June 13,  themed “PEACOCKalypse.”

Visit the exhibition webpage to view the video, explore Darren Waterston’s “Filthy Lucre” and explore “The Peacock Room.”


Between The Two Of These

Public installation by Brannon Dorsey and Pablo Gnecco features two projected digital forms which disintegrate when people pass by it, eventually reforming at opposite ends - video embedded below:

The installation employs infrared cameras to sense motion on location. Movement from the street causes fragmentation and destruction of the projected scene. Between the Two of These creates an active parallel between two present spaces. The constant de/reconstruction of digital representations is an entry point to themes of the temporality of memory and the poetic duality of virtual and physical space.

The figures were scanned with the 123D Catch iPhone app. Some were museum busts and some were friends, and family members.

The installation is part of The Window Project at the Digital Arts and Entertainment Lab (DAEL) in Atlanta, GA.

More Here


Scott Tulay, New Work.

Artist Scott Tulay (Featured) will have new work in two shows opening this July: “Look 4” will open July 9th at Foe Gallery in Northampton, Massachusetts and “Monochrome” will open July 10th at Spacewomb Gallery in Manhattan, New York.  Tulay is a gifted tactician of the complex, whose forms speak of, whichever way you choose, either destruction or erratic growth.

Keep reading


Mark Klink

As technology continues to assert itself as the most central means by which we create, socially interact and facilitate business, the divide between the physical and digital world continues to blur. Simultaneously, digital artists have been searching for ways to express the duality between the costs and benefits of having access to such amazing tools. Glitch art has proliferated on social sharing platforms, such as Tumblr, as a means to express the startling chaos and noise created through the bombardment by the constant and overwhelming amount of information generated by the internet. 

Amongst the large number of glitch artists presenting themselves these days, Mark Klink’s calculated and controlled databending sets itself apart. His experiments in the destruction of the renderings of human faces intrigue viewers as they simultaneous implode and explode in both form and color. 

Klink is also exceedingly generous with his knowledge, as he teaches and shares his processes on his open source blog. With the information shared by Klink and others, you can also participate in the ongoing online discussion exploring these new digital realities. 

  1. Athena001, 2015
  2. Aphrodite 007, 2015
  3. Aphrodite05 v1, 2015
  4. glitchHead012, 2014
  5. GlitchHead027, 2014
  6. Body002 head detail, 2015
  7. glitchHead004, 2014
  8. Untitled, 2015
  9. Lucy 03, 2015
  10. Aphrodite 2, 2014, images posted with permission of the artist. 

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Erno-Erik Raitanen‘s site specific installation, Cotton Candy Works, is built to crumble.  For the installation Raitanen builds a wall of cotton candy.  Visitors lick or pull off the cotton candy.  Within hours the entire installation returns back to its original nature – the fluffy sugar reverts back to its crystalline form.  The installation is definitely playful and looks like for gallery visitors.  Its more serious ideas of creation and destruction can’t be ignored.


We fought for countless reasons. One being the destruction of all forms of art and self expression. And as you are well aware, that is something man could not stand for. As a result, those who opposed this tyranny began naming their children after one of the core aspects of art itself, color.

Bhadrakali, Destroyer of the Universe 1660-1670

“This powerful esoteric Tantric image represents one of the most terrifying iconic forms of Devi (the Goddess), imbued with the destructive ferocity of her darker side. Standing on a corpse, Bhadrakali (‘Auspicious Kali’) consumes dead bodies while holding a massive sword, the severed heads of the creator god Brahma, and the limp corpses of Shiva and Vishnu.”


Charles Gould - Mythical Monsters, 1886.

The Dragon is defined in the Encyclopædia Britannica for 1877 as “the name given by the ancients to a huge winged lizard or serpent (fabulous).”

The text also goes on to state that “they (the ancients) regarded it as the enemy of mankind, and its overthrow is made to figure among the greatest exploits of the gods and heroes of heathen mythology. A dragon watched the gardens of the Hesperides, and its destruction formed one of the seven labours of Hercules. Its existence does not seem to have been called in question by the older naturalists; figures of the dragon appearing in the works of Gesner and Aldrovandus, and even specimens of the monster, evidently formed artificially of portions of different animals, have been exhibited.” A reference is also made to the genus Draco, comprising eighteen specimens of winged lizards, all small, and peculiar to India and the islands of the Malay archipelago.

Such is the meagre account of a creature which figures in the history and mythology of all nations, which in its different forms has been worshipped as a god, endowed with beneficent and malevolent attributes, combatted as a monster, or supposed to have possessed supernatural power, exercised alternately for the benefit or chastisement of mankind.

Its existence is inseparably wedded to the history, from the most remote antiquity, of a nation which possesses connected and authentic memoirs stretching uninterruptedly from the present day far into the remote past; on which the belief in its existence has been so strongly impressed, that it retains its emblem in its insignia of office, in its ornamentation of furniture, utensils, and dwellings, and commemorates it annually in the competition of dragon boats, and the processions of dragon images; which believes, or affects to believe, in its continued existence in the pools of the deep, and the clouds of the sky; which propitiates it with sacrifices and ceremonies, builds temples in its honour, and cultivates its worship; whose legends and traditions teem with anecdotes of its interposition in the affairs of man, and whose scientific works, of antiquity rivalling that of our oldest Western Classics, treat of its existence as a sober and accepted fact, and differentiate its species with some exactness. It is, moreover, though not very frequently, not as a myth, or doubtfully existent supernatural monster, but as a tangible reality, an exact terrible creature.