Hema Upadhyay - Sculptural Installations

Hema Upadhyay (1972 –2015) was an Indian artist based in Mumbai. She was known for photography and sculptural installations. She was active from 1998 until her death in 2015.

Hema Upadhyay was an Indian artist known for her photographs, intricate paintings, and mixed-media installations that reflected the cityscapes and identity of her native country. Drawing extensively from her own experience, Uphadhyay crafted narratives from found materials to explore themes of gender, migration, socioeconomics, and urban development. “So much chaos in my work actually came from the city,” she explained. “When I work in my studio in Mumbai, there are lots of elements, of decay, of life, of chaos. It’s a double-edged condition when you see development in the making—you see growth but decay.” Upadhyay draws on her own personal and family history of migration to express her concerns and this is expressed through the way she portrays herself in her works. The upturned slums reference the repercussions and socio-economic inequalities that emerge as a hidden consequence of the relentless tide of urban development in the city.

Tony Feher - Minimalist Compositions & Displays of Three Dimensional Abstraction

Tony Feher (1956 – June 24, 2016) was an American sculptor.
Feher's sculptural installations—part hobo altar, part curio cabinet, part TSA contraband table—often belie a nuanced understanding of the emotional power of the quotidian object, while displaying, at times, a quality of manic ranging.[4] His signature material, the brightly colored plastic beverage container, found its way into minimalist compositions as well as exuberant displays of three dimensional abstraction. His pieces offer quiet encounters, suggesting the ways an individual might invest discarded bits of flotsam—vacant consumer packaging, toys and novelties—with deep personal meaning.[5] Feher's work was said to be refreshingly direct and permissive; he wasn't overly concerned with its representational character or intellectual ambition. Critic Wayne Koestenbaum stated that ...."He collects and arranges his colorful foundlings with custodial precision—a kinky rigor that restores the dignity of those who overly cathect to household flotsam. Feher’s patterns reassure; he seems a model-maker, constructing maquettes of villages and bundled communities that imagine utopia by seceding from usefulness into gridded whimsy."[6] Silvia Bottinelli, writing in Sculpture Magazine, noted that Feher's ambition differs markedly from other contemporary artists (such as Haim Steinbach) who have made the commonplace object their own: "Feher’s interpretation of the readymade is not strictly Duchampian, though. His work is not about decontextualizing manufactured objects to question ideas of craftsmanship and originality in art. Before landing in a gallery or museum, the elements of his sculptures are part of his daily environmen.Wikipedia