Lonely Mountains

MIRARI is the digital film I created that responded to the pandemic time. As a fashion and digital designer, I started from the fashion perspective. I'm trying to build an ideal state of design, making this system by exploring more about the visual world and trying digital access. This way also becomes an interaction between garments and the wearer. With emotion and a sense of participation, I believe it can extend the life span of garments.

I use an abstract video to show my concept and the process of the system. I respond to the current pandemic time with "proximity" and "Hope” and get patterns from AI. When people enter some text, AI translates and retouches it into graphics which can use as a pattern. People get printed from the act of breaking through the fabric and enter an ideal and more personalized world.


MIRARI

The hierarchy smashing naturality, destroying beauty. Focused only getting on top of the pyramidical system we didn't realize that even if we are on top we are still a cup which someone else use for pouring his liquid.


Red clay and plants

Mechanism of hierarchy 

Handmade collage of randomly folded paper with a thin metal leaf folded. A3 fine art paper

Paintings part of the : "WHO AND WHAT WE SURROUND OURSELVES WITH IS WHO AND WHAT WE BECOME" 
Inspired by transformation and acclimation of objects related to their settings and the space around them.

Oil on cradled wood_ 30x30x1.75_ 2021

Green Baccarat Bunny

When creating the series of Gaia Rise, I sought for the connection with one of the earliest and most universal deities of ancient myth is the personification of Earth: Gaia, who’s equivalents in Earth goddess have been relevant in Asia, India, or South American cultures like the Aztecs. However, Herodot describes Gaia not only as a caring or nurturing mother, but also as volatile and erratic in nature. This insight motivated me to think about our present condition on Earth and how much our lifestyle has contributed to the exhaust and extortion of natural resources and ongoing extinction of species, languages, cultures and ethnicities. Those myths set exemplary narratives we need to remember as a call for change for a paradigm shift away from economies towards ecologies.
Each piece of the cycle depicts distinct mythological themes animated by Mother Earth’s close and far relatives, which have formed the base of Western culture updating these classics into cautionary tales.
Mythological themes are montaged into a tapestry of devastated, neglected or exploited landscapes. Gaia Rise retells the myths of Mnemosyne, Perseus, Medusa, or Prometheus, which have formed the base of Western culture updating these classics into cautionary tales. I have reinterpreted ‘Gaia’ into extended versions, in order to explore the political violence embedded into motifs of landscapes in volatile conditions that have expanded globally. I explore how Gaia is vulnerable and completely out of balance along with all atmospheric formations of climate change as an outrageous result of human activity. 
Through the use of corrugated cardboard, the ubiquitous signature of our globalized consumerism, I process mixed media, natural and anthropogenic material and matter into multilayered paintings. Through disappearance and disintegration principles, I share underlying tales of ancient myths of powers and forces transforming the planet. I apply painterly gestures and join abrasive operations, destruction, disintegration, and reconstruction of tattered textures. I shred crusted layers of mixed media incorporated with found object and materials from corrugated cardboard, forming the delicate, vulnerable spheres that we occupy.The process reflects exactly on human-kind’s capacity of building, unbuilding and destruction. I build up layers of corrugated cardboard, just with the purpose to destroy again. As Mark Jenkins of the Washington Post once pointed out being a "builder and destroyer."
Favorite tools: worn out mops, giant spatulas, and buckets of water. Those tools support the concept of erraticism, erosion, and raptures in our doing, the intended unintentional, the speculated unforeseen.


GAIA RISE CYCLE

LIVIA MARINLivia Marin uses everyday objects to explore the nature of how we relate to material objects and the relationships we develop with them in an age dominated by mass production, standardized and circulated globally. The artist used fragments of teapot sets, which were industrially produced and featured machine-printed serial decorative patterns, turning them into pieces. unique, precious crafts. In Broken Things, teacups, bowls, vases, jars seem to be paradoxically broken but still complete: therefore what is contained and what is contained form a kind. the third unidentified object hovers between formation and dissolution. It is the decorative patterns of the objects, both in and out of their common place, that maintain the ambiguity of these objects. One such example is the repeating pattern used by the artist, Willow Pattern, which can be found on many commercially produced ceramics. The origin of this decorative motif, reminiscent of ancient Chinese blue-and-white pottery, actually dates back to Britain during the Industrial Revolution. This pattern was invented by an Englishman and in previous times, blue and white ceramics were associated with the aristocracy, but now this pattern has been overused, has become a symbol. Statues are printed on the bulk of ceramics found in any department store. Another fundamental theme for Livia Marin is the tense moment between wanting to keep or discard a broken object. In “From the Series Broken Things,” the photographs of the subjects seem incomplete. The fragments of the photograph, torn and patiently stitched together with gold thread, are reminiscent of the Japanese technique of restoring and embellishing objects. The fractures represent death and loss and they are filled by repairing and rescuing the object. Both the act of photographing and the act of "running away", where gold restores lost or lost things, represent memory metaphorically. In another series, "Nature Morte", the artist uses certain codes of still life paintings of the seventeenth century. She reinterprets this art genre by exploring the hierarchy of objects, analyzing their spatial, social and political order, based on the personal value they have acquired over time. past time. In a world accustomed to compulsive buying and selling of money, these works are a powerful reminder that no part of material culture can escape the ideological connotations of value. .Livia Marin (Santiago de Chile, 1973) lives and works in London. Her work is characterized by the appropriation of mass-produced objects and was initially informed by the social and political context of Chile in the 1990s, which transitioned from seventeen years of dictatorship under Pinochet's brutal regime, to a democracy dominated by an ultra-reformed neo-liberal economy, not least authoritarian and autocratic. What was followed by a huge wave of privatization and liberalization destroyed the country's existing local artisans while importing standardized goods from the global market. The artist thinks about how how we relate to objects in a materialist society influenced by the culture of globalization and about how our identities are defined through materialistic tags derived from consumerism. The close, everyday bonds that can develop between the owner and the object allow it to enter a new stage of meaning. From consumer to consumer, a concept that reverses alienation caused by consumerism, poses a threat to market manipulation. Marin's work has been shown at home country Chile as well as internationally. Recent exhibitions include: Oro verde, Galeria Patricia Ready, Santiago, Chile, 2018-2019; Concealment, Jaggedart, London, 2018; Metalmorfosis, Museo Nacional de Bellas Artes, Santiago, Chile, 2018; ASSORTMENT (XII), Jaggedart, London, 2017; Color grading (XI), Jaggedart, London, 2017; Thread, Jaggedart, London, 2017; Liquid Art System, Miami Context Art, Miami, 2016; White Room-Liquid Art System, Art New York, 2016; Faltas / Faults, Galería Patricia Ready, Santiago, Chile, 2016; Marca no register, Espacio Odeon, Bogotá, Colombia, 2013; Sutura, Galeria Eduardo Fernandes, Sao Paulo, Brazil, 2011; Broken Things, House of Propellers, London, UK, 2009; Nomadic model, Eagle Gallery, London; El lugar de lo invisible, Sala Gasco, Santiago, Chile; Nature Morte, House of propellers, London; Manuf®actured: The Conspicuous Variation of Everyday Objects, Museum of Contemporary Crafts, Portland, Oregon, USA; The tectonic shift: Contemporary Art from Chile, Saatchi Gallery, London; Poetics of the Handmade, Museum of Contemporary Art (MOCA), Los Angeles, USA; Maximinimalist, Institute of Visual Arts
Email : maguire.holey@outlook.com.vn
Reproduction in any form is prohibited
Copyright by
Harry Maguire

Livia Marin art work

2021
Archival pigment print, sandblasted glass in artist's frame 

Yeux You

30" x 48" acrylic on gallery canvas

Represents our nature of being difficult to understand in our immature state.

Ambiguous

Vintage Life Nature Library images, wood, paper pulp, eco-poxy resin, figurines, felt, laserjet prints on paper, screen, bungee cords, dried flowers and asparagus fern, acrylic, pigment, adhesive.

78”W x 42”H x 8”D


Windows & Many Screens to Know you Fully.

Moniwura (A Tale of Untold Value

Acrylic transfer on plywood, 75x110 cm, 2020
Photo: Dávid Biró


Time Out #1

48 x 48 x 24”
	Cast plaster, stoneware, steel, acrylic sheet, paint.
	2017


____is Where the _____ is

Title: Détachment with Sirius 
On view at Leila Heller Gallery, NY 
Year: 2021 
Medium: Aluminum, industrial paint, Cor-Ten Steel 
Size: 62 x 32 x 32 Inches - 28 x 34 x 34 Inches


Détachment with Sirius

NO TITLE

Xerox transfer and underglaze on porcelain 

Mixed Messages

This set of works has been inspired by 1950s floral swimming caps. As usual with all of my work nothing has been purchased brand new other than the base buckram and wire. The fabric flowers used were a combination of discarded, found, and donated and I had been collecting them over many years. The swimwear and props seen in this photoshoot have all been sourced from real vintage outlets and charity shops and are also available for hire along with the hats if you require the entire look.
Costume Design:
Hats designed and made by myself, Sian Dorman
The Visuals:
Swimwear and Props sourced by myself, Sian Dorman
Photography:
Alice Mason
Models:
Callie Clifford, Jozie Doherty & Fatoumata Deallo.
Agency: Your Model Management
Location: Walthamstow Marshes, London

For more information visit https://www.alicemasonphotography.com

 'Vintage/Retro 1950’s Inspired Flower Swimming hats’- Released 13 May 2021

"Dancer" is about movement, There two figures here representing a painter as two different entities.

"Dancer" Oil on canvas 120 x 100 cm 2021

2021

MISS UNIVERSE is a celebration of our most subtle complexities, employing a celestial template to illuminate how our differences and shared qualities each demand closer inspection. The series brings various women one with the stars, making their faces appear as if they’re emerging from the night sky. These portraits were created entirely in-camera to capture the uniqueness and similarities that are owed to our cosmic origins.


MISS UNIVERSE

signed digital painting mounted on acrylic glass
date. 2020 | size. 70 x 100 cm
edition. unique

The Artwork "L'isola che non ce" is part of the Shapes of the deep series. 
The shapes of the deep project are about to penetrate from the surface into the depths 
in order to explore the essence and truth of things. The work went through countless 
metamorphoses on this visual adventure journey until it found its final form.

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