Take a closer look at Jill Sylvia’s work – it’s hard not to be impressed. She painstakingly hand-cuts out the negative spaces between grids on ledger paper to amazing effect (and scale). By systematically subtracting elements, the surface is transformed into a lattice; a material language that runs throughout her art.
The ghost-like extracts of accounts books and balance sheets are striking, but no doubt, the architectural models steal the show due to their technical sophistication. Using paper associated with finance lends an interesting conceptual element as well as aesthetic quality to the sculptures of the iconic American power-houses depicted. The gridded structures seem to hint at the systems concealed within the actual architecture, as well as creating a beautiful contrast between solid and void.
Square by square, sheet by sheet, these constructions must be pretty monotonous, and hypnotic to make. I think it’s fair to say Jill Sylvia is very patient, and a maestro with a scalpel!
- Boot Boyz Biz: promoting community, not commodity
- Waving goodbye to July with our weekly Best of the Web
- The classical and the crude combine to represent the multiple facets of The Arab City
- Parquet Courts’ Andrew Savage on the interchanging influence of art and music
- Thee Drinkers: New exhibition conveys the joys and despair of having a few too many
- August Diary: where to go and what to see
- Benedict Redgrove’s beautifully hypnotic film about how a tennis ball is created
- Tommy Cash subverts the tropes of rap videos with a fleshy celebration of the human body (NSFW)
- Ian Davis’ picturesque paintings of bureaucratic dystopia
- Is it ever OK to work for free?
- Pentagram unveils refresh of Mastercard’s brand mark and identity
- Peter Saville and Tate Design Studio create beer can artwork for Switch House pale ale