Artist Daniel Arsham explores the intersection between architecture and the natural world in a new series pairing ink drawings with 3D sculpture.
Debuting at Galerie Emmanual Perrotin in Paris on March 20, “Animal Architecture” draws on the Miami native’s democratic approach to artistic medium. Arsham, who has previously collaborated with legendary choreographer Merce Cunningham (set design for 2007’s “eyeSpace”), dancer Jonah Bokaer (performing in “Replica” from 2009), and fashion designer Hedi Slimane (sculptural dressing-room installations in the Los Angeles Dior Homme store), is proof that talent need not be restricted to one dimension.
Daniel Arsham, Pixel Cloud (New York). Photo: Guillaume Ziccarelli, courtesy Galerie Emmanuel Perrotin, Paris.
Daniel Arsham Untitled (Owl), 2010 and Untitled (Fox), 2009.
Daniel Arsham, Untitled (Kangaroo), 2009.
Daniel Arsham, six erosions to the center (2007).
Daniel Arsham, Curtain (2007).
Daniel Arsham, Sheet (2007).
Rendering of Snarkitecture’s proposed design for a publicly-funded art installation at the new Florida Marlins Ballpark under construction on the site of the former Orange Bowl, scheduled for completion in April 2012. The letters are reconstructed versions of the iconic “MIAMI ORANGE BOWL” sign on the west side of the demolished stadium.
Set design for Merce Cunningham at Eyespace (2007).
A performance of “REPLICA,” performed by Jonah Bokaer and Judith Sanchez Ruiz with visual design and scenography by Daniel Arsham.
Workshop excerpts of “Why Patterns,” a collaboration between Jonah Bokaer and Snarkitecture, developed at Arsham’s summer residency in Hudson, NY (2009). The visual design emerges from a single ping-pong ball which produces unpredictable results, in turn triggering events that flood the stage with thousands of ping-pong balls with which the dancers are forced to interact. Still from the February 28 performance below.