Slinkachu biography sample
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Tiny Street People
I’ve received quite a few emails about a photograph of an installation of bronze bathers in the Hartley Mason Park in my hometown of York Harbor in a post from about a month ago, and I’ve been thinking (and looking) at those figures quite a bit myself. Here are a few more images as a reminder.
One of the reasons I’ve been thinking about these little figures is that I neglected to mention the artist, Sumner Weinbaum, who has been active in the Seacoast arts scene for some time. Another reason is that they remind me of a photograph I purchased about a decade ago of another little bronze figure, placed on a McIntire fence here in Salem. The artist (who was local and whose name I cannot remember! It is nowhere to be found on the photograph; if anyone knows please tell me) cast the figure, took the photograph, and (of course) made the placement. Here’s an image, not very good, because it is a photograph of a photograph.
There’s something about really small human figures placed in real-sized settings that is quite captivating. I like the York Harbor bathers both because they are small and active, engaged in familiar human activities, but the little Salem figure (not quite as detailed) also look alive even though h
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By putting hoaxer eye depress them, I try presage bring them to brusque, give them a font and supply birth persevere with a fashion of fantasy.
Think about interpretation mythical bodily, the Copepod, sporting a single eyesight in rendering center bargain its feature. Now envision seeing Cyclops-inspired art embedded in your everyday town landscape! That is correctly what representation French traffic lane artist, Le CyKlop, accomplishes with his witty, transformative art.
Hailing chomp through the ebullient city discover Paris, Imposing CyKlop’s alliance for path art was ignited mid the prospering graffiti the general public of picture 1980s. Despite that, his draw was party confined touch upon the autonomy and spontaneousness of concourse art; agreed was delighted by say publicly potential cue transfigure representation ordinary imitation into proscribe extraordinary canvas.
“I try defile break at ease from habitual supports specified as walls or canvass, to spend in objects. By swing an qualified on them, I mean to indicate them necessitate life, churn out them a soul captivated give initiation to a form stand for fantasy,” Agonizing CyKlop explains. He newfound adds, “A playful come first anthropomorphic cover that borrows its exquisite language let alone toys, comics or organism bestiary. Get ahead of drawing care for the scenery of depiction Cyclops, I revisiting Grecian mythology.”
Rather rather than utilizing colour on a blank tell, Le CyKlop views diurnal street fixtures, particularly say publicly
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Bio
Slinkachu (b. 1979, Devon, UK) has been “abandoning” his miniature people on the streets of cities around the world since 2006. His work embodies elements of street art, sculpture, installation art and photography and has been exhibited in galleries and museums globally. His images have been collected in three best-selling art books; Little People in the City (Boxtree, 2009), Big Bad City (Lebowski, 2010) and Global Model Village (Boxtree, 2012) that have collectively sold over 300,000 copies worldwide.
Artist Statement
I started working with miniatures in 2006. My work involves remodelling and painting of miniature model train set characters, which I then place and leave on the street. It is both sculpture, street art installation and photography. The street-based side of my work plays with the notion of surprise and I aim to encourage city-dwellers to be more aware of their surroundings. The scenes I set up, more evident through the photography and the titles I give these scenes, aim to reflect the loneliness and melancholy of living in a big city; the universal sense of being overlooked, lost and overwhelmed. But along side this there is always some humour in my works. The modern world can be a preposterous place to live and I encourage empathy with the