Daniel Arsham

Daniel Arsham

danielarsham

Available now at www.Lito.io. This is a very special limited edition print with a new process that fully captures the original painting strokes and color profiles. I look forward to seeing this out in the world with you!

06.27 22:24

Daniel Arsham 的更多帖子

My friend @lalalalisa_m came by to preview my exhibition “Memory Architecture” in Seoul. You can join me today for the opening of the exhibition at @perrotin from 5-7 pm. I will also be signing copies of my books which will be available at the gallery.
Releasing this Friday at 12 Noon ET at the link in my bio. Unveiling Memory Waterfall, my first collaboration with @lito_editions.⁠ Created using LITO’s proprietary technology developed at their Lab in Austria, this edition explores a new frontier of printmaking unlike anything I’ve seen done before. LITO 3D scanned my original painting with incredible accuracy, capturing scale, depth, texture, and color identical to the painting. It’s not just a print. It’s a hybrid: a sculptural artwork, a unique experience.⁠ every brush stroke, and mark, and even the texture of the canvas is visible in the surface. ⁠ Memory Waterfall is a meditation on presence and impermanence, monuments dissolving into landscape. Each layer reveals what the eye alone can’t see.⁠ More soon. Memory Waterfall 108,4 x 80 cm High-rendered print on paper, black aluminium frame Limited Edition of 199  #DanielArsham #LITOEditions #MemoryWaterfall
This one drives. 🏎️💨 One more step to complete before its done. Full recap on this sculpture in a few weeks.
When is the work done?
This painting is part of an ongoing exploration of nature and time in my work. Since I was in school, I’ve always been drawn to 19th century American landscape painters like Thomas Cole and Albert Bierstadt who created vast and theatrical visions of nature. It wasn’t cool to like this work then and it wasn’t what other students were in to. These paintings were not just about geography or nature, they were about psychology. about the spiritual weight of a place. In my new painting that tradition meets something more archaeological and speculative. A colossal head lies partially reclaimed by water and jungle. It suggests a lost civilization or maybe a future where our present becomes myth. Like my sculptures this work plays with time. It imagines ancient forms in surreal environments that feel both dreamlike and real. The figures in the water could be explorers or survivors or even worshippers. We don’t know and That uncertainty is the point. It reflects how we create meaning from ruins. How nature moves on without us. How growth and decay can exist in the same frame. A lot of my work is about erosion. Not just the physical kind but cultural erosion too. I’m interested in the idea that future generations might uncover traces of our time the way we uncover pieces of ancient empires. This painting is a way of thinking through that idea. It’s about memory and imagination and the strange power of landscape to hold onto these feelings.
The Story of the Eroded Delorean: About a decade ago, I was sitting with a friend and collector, talking about where I wanted to push my practice next. I had been creating fictional archaeological castings, imagining relics from a parallel timeline. I told him I wanted to scale up and go beyond the body and into something that could carry a larger cultural weight. What could capture a moment in time better than a car? We went through a list, and when I mentioned the DeLorean, he immediately said, thats the one. The DeLorean was futuristic, iconic, and also a failure in many ways. That contradiction fascinated me. I found one in California and brought it back to the studio. Instead of casting the whole car as a solid block which likely would’ve collapsed under its own weight, I carefully removed panels, built in the erosion, and cast the interior in geological materials like stone, pyrite, and quartz crystal. The result felt like a time traveler’s tomb, half artifact, half vision of the future that never arrived. The work debuted at my 3018 show at @emmanuelperrotin in New York and instantly struck a chord. It became a lightning rod for conversation in both the art and automotive worlds. Years later, it remains a touchstone in my practice. An emblem of ambition, failure, and the beauty in imagining what gets left behind.
A work of mine that almost didn’t get made. I originally thought about this work for my exhibition last year during the Venice Biennale, but the idea only came about eight months before the show was supposed to open. It was a new process for me using mixed materials, bronze, and stainless steel. When these works are cast they’re done so in different sections, and the challenge is that the metals when cast shrink at different rates so getting them to align afterwards is quite a challenge. Once I had figured out how to make the work itself the other challenge was getting it from the foundry to Venice, which included putting the work on a truck, then a plane, then another truck, then a boat, then a another truck, then a series a metal poles that a palette rolled over, and finally a gantry. I really love the way this work sat in Venice, a combination of the past and the future. The work seems to bring up so many questions about when it was and who it was and who it could be. I have this feeling that a lot of the work I make ends up being a question rather than a solution. Maybe that’s why I keep going.
Recent Experience.
@complexcon opens today in HONG KONG. 🇭🇰 Stop by the @carsham.jpg Station. I’ll see you there 🏎️💨
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