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We finally received the long-awaited advance bound copy of Book 1 and we are thrilled with how it looks.
We made a virtual video tour so you can get a sense of how the book will look! Click the link above to preview it. Just a reminder, there are only two weeks left until the July 1st deadline to reserve your copy. We’ve had an overwhelming response (especially since each book features a unique piece of artwork from featured artist Kyle Thomas) and supplies are very limited. So, to ensure you receive this special inaugural copy, please subscribe as soon as possible.
Book 1: Supernaturalism Theme
Beautiful/Decay explores a group of artists who conjure notions of the uncanny with their hauntingly off-putting works. Whether introducing distortion, violence, the grotesque or the ghostly, each artist alters traditional (super)naturalism to create visions that teeter on the boundaries of the comedic and the downright diabolical. Hinting to an level of existence beyond the scientifically visible universe, the artists in “Book 1: Supernaturalism” examine the potential for alternate, darker realities.
Book 1: Special Features
- Hand-Drawn Cover
In celebration of Book 1, featured artist Kyle Thomas will be personally hand-drawing each cover with a one-of-a-kind artwork. No two books will be the same! Within the purple skeleton-crystal magic mirror, Kyle Thomas’ playful black ink drawings will take new form.
- French flaps & Gatefold
Book 1′s front and back lining gatefold of the book opens out to a stunning three part diagram, loosely based on alchemical & Masonic symbology.
- Special Inserts
Custom limited edition inserts throughout the book, including a collaborative sticker with Mat Brown and artist postcard inserts.
- Hand Numbered Editions
Each copy of Book 1′s exclusive 1,500 print run will be lovingly hand numbered. The back cover features a cosmic skull and the book’s unique number written below.
- 164 Pages of Pure Content- No Ads!
All traditional advertising has been eliminated, meaning 164 pages of pure, unadulterated content. Book 1 features some of the most in-depth interviews and image-rich spreads on emerging and establishing artists available today.
|Laura Brothers’ digital works use the relatively unexplored terrain of the internet to create her works. She ironically chooses the dated format of LiveJournal to display her potfolio. GIFs, once the cheap stuff of early 90’s websites, have been reinterpreted into ever-doomed souls lost in the endless throes of their sad-sack actions, and pixel-art becomes almost Bernini like in their bombastic grandeur.|
|Elisabeth Higgins O’Connor create Frankenstein-like stitched and slumping sculptures that look like stuffed animals re-animated from the death. Half playful, half demonic, her voo-doo doll like “No Names” are innocently seductive.|
|Maja Vukoje reinterprets figurative representational painting by fusing it with multiple, unexpected painting techniques and ghostly figures that are on the verge of becoming, or disappearing. Vukoje’s works are haunting in their uncanny states of limbo.|
|Mat Brown presents a hellish vision of the world that strips bare the higher aspirations of enlightened civilization, instead presenting humankind as vulgar, grotesque, lost in the throws of self-indulgence, violence and gluttony. Brown indulges a Lucian Freud-esque aggressive attention to the body. One thing is clear—Brown’s depiction of the humanity within these works is far from idealized.|
|David Jien is an emerging artist who creates obtuse pencil drawings depicting pseudo-typographical architecture that is half crop circle, half Joan Miro.|
|Yvonne Todd creates unsettling photography that straddles the realm of reality and uncanny, hyperreal and replica. Rooted in the identity explorations of Cindy Sherman and overlayed with an idiosyncratic and off-beat sensibility all her own, Todd’s photographs are both seductive and frightening.|
|Frank Magnotta’s hallucinatory graphite drawings hearken back to the classical draftsmanship, mimetic qualities and loaded symbolism of Northern Renaissance masters such as van Eyck and Brueghel. However, Magnotta firmly situates his works the context of our contemporary image-saturated society, coding architectural form and figuration alike with shaded media-message. Magnotta uses advertising imagery as the fundamental “DNA” of his works, manipulating their core structures in myriad ways to cast the mutated visages of his creations.|
To get this and future issues of Beautiful/Decay, subscribe here.