because I can't remember...

bomibeakim.com

theories-of:

Tiril Hasselknippe-The Shapers, installation view at Grünerløkka Kunsthall, Oslo, July 2014 s

crittoure:

Stickers are finally in the works.

ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
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ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
Read More
ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
Read More
ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
Read More
ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
Read More
ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
Read More
ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
Read More
ceramicsnow:



Seth Czaplewski: Ceramic Streets, 2009-Present
I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.
Read More

ceramicsnow:

Seth Czaplewski: Ceramic Streets, 2009-Present

I view my work as crossover media. I usually abstract forms, which are then situated outdoor. Once placed, each on-site piece is documented as the primary archival “art object”. In doing so, my hope is that each work will ask viewers to reexamine and reconsider how art functions in their surroundings. I install my work in public, leaving it subject to societal forces and the whim of passersby. They are left to provoke thought, be transformed, or remain.

Read More

Running on The Default Network
by Boyce