Never2501, Pastel and Austin McManus (contributing editor at Juxtapoz magazine and also a photographer) are reaching out to you and the art community to help make an upcoming project a reality. The three artists are planning to collaborate on the Mirrorless Project, a series of complex installations this year during the Miami art fair craziness. These installations for the Mirrorless Project will take the form of wallpaintings and specially placed mirrors homes at Wynwood, Miami. It’s a bit difficult to explain, so here’s a mock-up of how the mirrors and the wallpaintings might interact at one of the houses:
One thing I’ve always admired about Never2501 is his curiosity with and embrace of how an artwork does not have to be a static thing, but can change over time in ways that an artist can only attempt in vain to control. The mirrors in this project are just one more example of that curiosity.
Pastel and Never2501 have worked on a series of collaborative and customized prints that they are using to crowdfund the project. Just as Christo and Jeanne-Claude sold preparatory sketches to fund their public projects, Mirrorless Project is being funded by sales of the print shown at the top of this post, essentially a preparatory piece for one of the installation sites. And there’s a lot of customization to these prints. They are one-layer screenprints. So, in the above piece the only thing that’s not handpainted is the drawing of the house. Everything beyond that is unique.
This Never2501 and Pastel collaborative and customized print is an edition of 50 plus 10 artist proofs and measures 70 x 100 cm. Only the APs of the edition are left, at $150 each. You’re basically buying an original given the amount of customization, so don’t hesitate too long if you’re thinking about picking one up. To buy a print and help fund the Mirrorless Project, just email email@example.com.
Pastel recently finished a wall in Buenos Aires, Argentina. What I like of Pastel’s work is how it references so neatly and effortlessly his influences in archetectural studies and demonstrates a hightened conscience of lines, shapes, and the richness that can expressed utilizing the absence of colors.
Latin America seems like a treasure trove of street art and graffiti. I could spend hours on end looking through these works through groups on Flickr. But for people like me who can’t see it in person, that seems to be the only way to tap into that vibrant and energetic scene. In the last 2 years, I’ve come to know and love a few Argentinian street artists (a few of whom will be featured in this show) but I’m aware that there are so many others who I have yet to come across!
The Talking Walls of Buenos Aires is a group show curated by Graffitimundo, which is based around just that – bringing works by a few of Argentina’s leading street artists to a gallery in Washington DC. Opening July 13th at 6pm at The Fridge gallery, you can catch the work of Buenos Aires Stencil, Cabaio Stencil, Chu, Defi, Ever, Fede Minuchin, Gualicho, Jaz, Malatesta, Mart, Pastel, Pedro Perelman, Poeta, Prensa La Libertad, Pum Pum, Roma, Stencil Land, Sonni, Tec and Tester.
Pastel aims to create a commentary on a the current existence of man and space, to reflect on how these two have been separated and one can no longer see the reflection of the creator and the space that was built to be lived in.
As a result, the lack in what it means to inhabit, live in, to dwell does not refer to the lack of dwellings. The main absence is due to a need to find the essence of inhabiting, to learn how to inhabit, to live in.
Argentinian artists Elian and Pastel collaborated on various pieces during this year’s Fountain Art Fair in Wynwood, Miami. Both artists exhibited works inside the fair, as part of a collaboration curated by Atlanta’s public art non-profit Living Walls.
The above collaboration utilizes use of fleeting, temporary mediums that captures Elian’s and Pastel’s playful and meaningful interaction with public art. Pastel uses chalk as his medium; creating organic relationships with weather and the passing of time, while Elian’s repetitive lines will remain and play with the empty space that evolved through the lapse of time.
This collaboration was one of my favorites that I saw in Wynwood this year. Both pieces communicate with each other but also have the ability to stand on their own as separate works.