gejegor wallpapers: New skulls wallpaper

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Primarily a sculptor, Lazzarini is best known for making common objects that have been subjected to compound distortions which have the effect of confusing visual and haptic space, or rather complicating the space of pictures and the space of things. Lazzarini also alters the physical spaces in which these objects are seen�the "ground" to the object's "figure"--which adds to the "disorienting" effect that the work exerts on its audience. Offering no ideal point of view and so compelling its viewers to walk around the work, Lazzarini's sculptures trace their lineage back to the 1960s, minimalism and to the introduction of phenomenology into the discourse of art. Additionally, all of Lazzarini's sculptures are created out of the same materials as the things on which they are based; for example, the skulls (2001), which Lazzarini first exhibited at the Whitney Museum of American Art, were created out of cast bone.

The compound mathematical distortions that are central to Lazzarini's work are derived using algorithm-based operations such as mappings and translations. There are two primary types of distortions at work in Lazzarini's sculptures: planar and wave. The planar distortions are skews and scale shifts, as well as accelerated and de-accelerated perspectives. The sine-wave distortions are compound projections of intersecting sine waves. Particularly with regard to the planar distortions, the geometries of which are related to the construction of perspectives in two dimensions, there is no single vantage point at which the sculpture can be seen to "resolve" to the configuration of what the artist calls the "normative object"--that is, to the object upon which the sculpture is based as well as the idea of the object that resides in the viewer's mind. Both the planar and the wave distortions make this normative object appear "alien," and so entail the viewer in a process of recognition and familiarization which has been compared to the process of human cognition.

All of Lazzarini's sculpture are fabricated out of materials that are proper to the "normative objects" upon which they are based. What this means is that there has been no "material translation" of any kind: no working with traditional sculptural or "art" materials as a means to represent some other more complex matter, such as a human body represented in marble, or an equestrian statue cast in bronze. The implication of this process is that it becomes difficult to describe a sculpture such as Lazzarini's brass knuckles as a "representation" of "real" brass knuckles. The distortion of the object alone cannot render it a representation; after all, objects that are damaged or distorted via other means, such as in a fire or explosion, do not cease being the objects that they are. Lazzarini's sculptures, in their adherence to what one might call a strict policy of material replication, open an inquiry into the nature or logic of artistic representation itself.

Lazzarini's installation "skulls" was first exhibited in the Whitney Museum of American Art in the 2001 exhibition, "Bitsreams," and brought the artist into wider public visibility. The installation was made up of four sculptural variations based on a specific human skull, each mounted to one wall at eye level in an offset square room measuring fifteen by fifteen feet. Bathed in diffused fluorescent light, the shadows within the room heightened the works "image aspect" where "the walls of the gallery become a kind of uninflected visual field against which the form of each object is defined." The experience presented a new type of embodied viewing wherein "You feel the space around you begin to ripple, to bubble, to infold, as if it were becoming unstuck from the fixed coordinates of it's three-dimensional extension. You soon become disoriented, as this ungluing of space becomes more intense." The intensification of the works' figure/ground relationships was brought to a new level with the installation of "guns and knives" at the Aldrich Contemporary Art Museum in Ridgefield, Connecticut, which marked the first time that Lazzarini altered the physical space of the gallery to heighten the viewer's sense of disorientation.