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Caleb Olson (Philadelphia, United States) makes photos, media art and films. In a search for new methods to ‘read the city’, Olson focuses on the idea of ‘public space’ and more specifically on spaces where anyone can do anything at any given moment: the non-private space, the non-privately owned space, space that is economically uninteresting.
His photos are often about contact with architecture and basic living elements. Energy (heat, light, water), space and landscape are examined in less obvious ways and sometimes developed in absurd ways. By experimenting with aleatoric processes, he formalizes the coincidental and emphasizes the conscious process of composition that is behind the seemingly random works. The thought processes, which are supposedly private, highly subjective and unfiltered in their references to dream worlds, are frequently revealed as assemblages.
His works feature coincidental, accidental and unexpected connections which make it possible to revise art history and, even better, to complement it. Combining unrelated aspects lead to surprising analogies. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. Caleb Olson currently lives and works in Brooklyn.
Kale Tunnessen (°1986, Bloomsburg, United States) makes paintings and mixed media artworks. By taking daily life as subject matter while commenting on the everyday aesthetic of middle class values, Tunnessen creates intense personal moments masterfully created by means of rules and omissions, acceptance and refusal, luring the viewer round and round in circles.
His paintings appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. By applying a poetic and often metaphorical language, he often creates work using creative game tactics, but these are never permissive. Play is a serious matter: during the game, different rules apply than in everyday life and even everyday objects undergo transubstantiation.
His works are characterised by the use of everyday objects in an atmosphere of middleclass mentality in which recognition plays an important role. By applying abstraction, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation.
His works doesn’t reference recognisable form. The results are deconstructed to the extent that meaning is shifted and possible interpretation becomes multifaceted. Kale Tunnessen currently lives and works in Chicago.