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Sergey Sbss is a Moscow based graphic artist and designer. Sergey applies his style through collaborations with numerous industries, and is intent on furthering such collaborations in order to experiment with varied and unexpected surfaces.
Interested in the idea of anthropomorphism, Madrid-based photographer Miguel Vallinas retouched animal photographs and made it appear as though they were wearing human clothes. Though an initial reaction may be to dismiss Vallinas’ images as something of a cliché, the richness of the photographs combined with the humor have a charm to them that is alluring and endearing. Segundas Pieles (Secon Skins), is an ongoing project that explores notions beyond anthropomorphism. In fact, Vallinas’ photographs seem to accurately investigate concepts such as psychology, stereotyping and personality. The images of the primly dressed swan, or the melancholy donkey portray emotion and narrative beyond simple humor.
Attempting to depict the way he imagined different animals would dress if they had the ability to, Vallinas plays off our preconceived ideas of what our clothing choices signify and what we may, even subconsciously, believe about certain animals, certain people and ourselves. (via Colossal and dailymail)
In his portfolio, describing the above piece,’max’ explains, “My heroes are the heroes of socialism, Marx and Engels. And, as all heroes, they are there to protect us from chaos. And, as all heroes do, they fail.”
Illustrator, graphic designer, artist, Max-O-Matic, from Barcelona, seems to take his work as seriously as honest, heartfelt parody. You’re sure to find a little cynicism and humor in his mixed media projects, wherever they may be viewed, in editorials, on skateboards, or in sculpture. check out how he uses illustration and collage…
Carlos de los Rios, a Columbian artist represented by Stephanie Bender Gallery in Munich, produces an amazing variety of pieces by working in series, this one titled 32 Memoiren. The media and subject matter may alter, but de los Rios’ work maintains a fragmented attachment to the figure, like a futuristic Rorschach Test in need of translation–I see a bird.
Australian artist Damien Kamholtz recently opened Boats Like Feathers, an exhibition of new works at Art House Gallery in Melbourne. From the gallery’s website:
Boats Like Feathers brings together the child and adult in a soft and vibrant world of narrative and metaphor evoked through Damien Kamholtz’s deeply layered and nostalgic work, rich with a story unique to each viewer if they are willing to take part in the journey.
More images after from the show after the jump, and you can check out a video of the artist in the studio here.
Black models dressed up in traditional Flemish costumes. Maxine Helfman takes photographs the way Old Masters would have portrayed high society in the 17th century. In this series called “Historical Correction”, the artist offers the option of a reverse history. She wants to create a past that never existed. Her purpose is to create a dialogue with the viewers.
Using the same white collars, hats and black tunics. Even the poses are similar, mostly directly looking into the camera, only portraits and a use of lighting which features the faces. She doesn’t use a frame in order to keep the focus on the portraits. Maxine Helfman confirms that she was very careful on how approaching this project. Being a white women herself, she didn’t want to create confusion around a sensible subject.
By creating fictional narratives, she gives another outlook on history and culture. She directs the issues of race by looking at a different society in another time. The photographs are an indirect testimony that race and class are nowhere to be parted. Using art as a mean to express an idea, to make a statement; her series is not to be looked at as a final fact. She opens the door to a discussion about race, equality and how these issues are dealt within their country, wherever the viewers are. “All of my projects begin with that concept….it is the conversation that is generated that is fascinating…..positive and negative”.
Izumi Kato’s characters resemble angelic porcelain dolls. On the verge of breaking apart, they don’t seem to care. They just are, and that’s why they are so touching. The artist, from the tips of his fingers; with which he paints; brings to life innocent beings with extraterrestrial features. Their googly eyes, cracked noses and little bodies create an eerie harmony in the painting. So much that we would almost want to nurture them in real life.
As if he knew, their “dad” turned them into sculptures. He made them out of wood, three-dimensional, and as moving as their little brothers and sisters.
All that they evoke; strangeness, ambiguity, revulsion or sympathy is meant to dig into our contemplation on relationships. The poetic landscape of morbid embryos leads to question the nature of interaction with others but foremost with oneself.
Izumi Kato elegantly directs the viewer’s eyes to the characters’ heads, growing out of their svelt bodies, totemic figures; a blend of ancient Egypt and tribal African culture. He creates a bridge to our own head and thoughts because he wants the viewer to develop their own ideas from his abstract paintings and sculptures.
“Painting challenges the world. It is an unnatural form that has been singled out from our current three-dimensional living space. There is nothing strange about sculpture in our world, but painting is different. We search for another world in it.”