Ceaseless experimentation was the root of Zaha Hadid's architectural practice, as depicted in her early drawings and paintings. The Serpentine Galleries and Zaha Hadid Design teamed up to showcase Hadid's artistic prowess in the exhibition, “Zaha Hadid: There Should Be No End To Experimentation”, which opened today at the ArtisTree gallery in Hong Kong. — Bustler
An exhibition of rarely seen paintings, drawings and digital works by Zaha Hadid is due to open at the Serpentine Sackler Gallery in London this winter (8 December-12 February 2017), throwing new light on the late British-Iraqi architect’s accomplishments as an artist and calligrapher. [...]
Sketches and paintings linked to major projects, both realised and unrealised, will go on show. — theartnewspaper.com
The first portion she pointed out was a pale ochre wall patterned with thin, perpendicular white lines mimicking mortar between masonry blocks. Looking upward we then saw panels of blue faux marbre, high above them gilded column capitals and bosses (the ornamental knobs where vault ribs intersect), and, nearby, floor-to-ceiling piers covered in glossy yellow trompe l’oeil marbling, like some funeral parlor in Little Italy. — nybooks.com
"Buildings in paintings have too often been viewed as background or as space fillers which play a passive or at best supporting role, propping up the figures that carry the main message of the picture. By looking afresh at buildings within paintings, treating them as active protagonists, it becomes clear that they performed a series of crucial roles." — online.wsj.com
Blind alleys laid out like labyrinths. Steps climbing seemingly to nowhere. Roads crisscrossing and crossbreeding smaller roads. But despite the elaborate shapes and impossible angles, the cityscapes created by Filipino artist Rudy Yu make their own sense, aesthetically. They are cities [...] mapped out playfully, whimsically by an artist who, though inspired by the likes of M.C. Escher and Manuel Baldemor, puts his own idiosyncratic spin on space and matter that occupies it. — philstar.com
Gerry Judah’s paintings are a direct response to conflict across the globe, and the impact of that violence, whether it is the consequence of war or natural disaster. At the same time, he is fascinated by changing urban landscape, and his paintings explore the dynamic of construction and destruction. — acidolatte.blogspot.com
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