In Minimal Pure, Turkish digital artist and art director Feridun Akgüngör (b. 1984) combines architectural forms and bright expanses of sky to create dynamic, utopian vignettes. White concrete planes and glass windows invade masses of blue and green, which, devoid of a visible landscape, evoke a detached world where the only signs of life come from a single potted plant or a distant ock of birds. Utilising technology through staged images, the series makes a case for the contemporary artist, and indeed the globalised planet on which we live. Artifice is celebrated for its boundless potential, where the imagination can transform the ordinary into a new projection of the Anthropocene. Taking parts of buildings, Akgüngör deconstructs their original contexts and rebuilds a new landscape through post-productive methods. The result is a visually stimulating set of works that shifts perspective and encourages the viewer to re-interpret urbanity.
Redefined Environments – Feridun Akgüngör
Review of Frieze New York
A larger-than-life balloon dog by Paul McCarthy, almost identical to Jeff Koons’, marks the north entrance to Frieze. Clearly an eye-catcher, the piece indicated the wealth of art to be seen once inside.
Bridging the Gap Between Landscape and Abstraction, David Wightman: Paramour, Halcyon Gallery, London
David Wightman’s first exposure to art was via Manchester Art Gallery where he became captivated by the pre-Raphaelite collection and worlds of William Holman-Hunt and John Waterhouse.