Zimoun, Artist

36 ventilators, 4.7m³ packing chips

Zimoun 2014

Motors, metal, styrofoam, nylon, wood, controlling system. Dimensions: variable.
Installation view: Art Museum Lugano, Switzerland.

Curated by Guido Comis and Cristina Sonderegger. Studio and/or on-site production assisted by Matteo Taramelli, Ulf Kallscheidt, Janis Weidner, Elisa Tangheroni, Benoît Villemont, Riccardo Stephani, Alessandro Lucchini, Nicola Del Signore and Valentina Brkovic. Controlling system developed in collaboration with Jason Cook, Alexandre Saunier and Grégoire Lauvin, at the Digitalarti Laboratory in Paris. Photographies and video by Zimoun.  

Video: https://vimeo.com/92326468

236 prepared dc-motors, wire isolated, cardboard boxes 41x41x41cm

Zimoun 2011

DC-motors, wire isolated, cardboard boxes, power supply. Dimensions: height 3.5m, Ø 4.8m / height 11.5 ft, Ø 15,7 ft. Installation view: Ringling Museum of Art, Sarasota, Florida, USA. Curated by Matthew McLendon. Exhibition design by Matthew Harmon. Project coordination and assisted by Stephanie Sherriff. Assisted by Vanessa Gageos, Florian Bürki, Matthew Harmon, Kyle Petreycik, Alvy Vereecke, Emily Martin, Morgan Janssen, Chris Schumaker, Gabbi Ricci, Tracy Keenan, Diana Lueken, Lester Gessley, Alicia Stein, Emily Meyer, Chris Degrer, Alex Wyllie, Katelyn Bobek and Anna Paul. Exhibition coordination by Donn Roll. Conservation by David Piurek. Volunteer coordination and academic affairs by David Berry. Photographies and videos by Zimoun. Kindly supported by Pro Helvetia - Swiss Arts Council.

Video: https://vimeo.com/32012831

Watch on website. Link here. 

43 prepared dc-motors, 31.5kg packing paper

Zimoun 2013

DC-motors, paper, nylon, wood, power supply. Dimensions: Size variable.
Installation view: Orbital Garden Bern, Switzerland.

Curated by Don Li and Jahn Antener. Studio production assisted by Elisa Tangheroni, Valentina Brkovic, Matteo Taramelli, Janis Weidner, Ulf Kallscheidt and Till Hillbrecht. On-site production assisted by Elisa Tangheroni, Valentina Brkovic, Matteo Taramelli, Paul Hügli, Don Li, Jahn Antener, Li Rotzler, Marc Beekhuis, Hannes Zweifel, Micha Bürgi, Simon Petermann, Jelena Savic, Monika Grossen, Jahn Mazel and Nina Wagner. Video by Studio Zimoun. Supported by KulturStadtBern, Swisslos / Amt für Kultur Kanton Bern, Migros Aare and Burgergemeinde Bern.

Video: https://vimeo.com/85034898

More to see on artist's website. Link here. 

Ashley DeLoach, Student Work, Sculpture I

 “Pompeii”
4' x 25" x 25"
Wood, air dry clay, paint.

All my life I have collected items such as antique keys, cork bottles, coins and bottle caps.The idea of excessive multiples excites me. Formally there are ideas about repetition and space. Emotionally there are feelings of exploring and investigating the objects. For this piece I sculpted miniature forms from clay inspired by the pottery I saw when touring the ruins of Pompeii. I responded to the visual subtlety of the table structure with the miniature forms. The black united these forms so that the miniatures became part of the table and vice versa. There is also the idea about a game or a precious collection that is conveyed.

Small, clay forms in progress.

Ashley DeLoach, Student Work, Sculpture I

“The Gazing Hollow”
Wood
7' x 4' x 2.5'

Once I completed the construction of the cube, I fought with the idea that it should be painted or adorned in some way. Weeks passed and I played with several ideas, feedback from others danced in my mind. After writing about the church Santo Stefano, and doing some further research of Romanesque buildings I discovered why I was leaning toward leaving the surface in its current state of natural wood.  Santo Stefano, in Assisi and many other Franciscan churches are known for simplicity. The Church of Santo Stefano has bare stonewalls, with little décor, this is entirely unlike all other churches in Italy. Even Romanesque architecture once had color but is now striped of all color and reveals its stonewalls. These structures impacted me the most in on my trip, the raw, and undecorated interior and exteriors. Along with the minimal color and décor, the large-scale structure creates a presence in its space. I wanted this piece to reflect the magnitude of the sacred spaces I visited. The idea of my piece is a direct response to the feelings I had about scale and space when visiting Romanesque architecture in Italy.

Ashley DeLoach, Student Work, Sculpture I

“Exploding Limitations”

Wood and Yarn

approx. 5.5' x 3.5' x 3.5'

I realized it wasn’t about keeping the order and rhythm of the rest of the piece but about breaking away from the confinement of structure that holds us back. This side was like the side of me that was trying to breaking away from the order and restraint. Though I felt many raw and real emotions through this time I feel like the piece has become something chaotically ordered and beautifully messy. The yarn cascading down the front creates a dramatic contrast from the tight crossing lines of the other sides. This piece is a reflection of myself; again my subconscious was revealing mysteries that my heart knew all along.