Budapest-based designer Zsolt Molnár created an illustrated poster for every episode of the popular television show, Breaking Bad. It took the designer five months to produce 62 full-color posters, which are minimalist representations of iconic moments in each episode and include an important object or person that’s accompanied by a memorable quote.
If you’ve ever watched Breaking Bad, you’re aware that it’s basically an hour-long anxiety attack. The tension between characters and situations in the show is intense and suspenseful. It takes place in New Mexico, and in every episode we’re inundated with saturated colors of sand and the desert. Molnár styles his illustrations similarly, like gritty texture with a pop color, like Walt’s green shirt or a destroyed pink teddy bear. They are contained in their compositions, and rely on symbolism of objects and colors in every poster.
Molnár has posted his handiwork on his Tumblr. If you haven’t seen the entire show and don’t want any potential spoilers, then you might want to hold off on scrolling through the his series until you’ve watched it. (Via Buzzfeed)
Brad Spencer doesn’t just build things out of bricks, he also sculpts them into existence. Much of his work is large-scale and features human figures or elements that appear to emerge naturally and seamlessly from this solid medium. Bricks are normally used architecturally to build structures with 90 degree angles. Spencer challenges this conception by creating fluid shapes from this recognizable form. He uses a relief technique – starting with unfired clay, he sculpts the walls and figures into a brickwork pattern. He then fires the pieces separately, and assembles the entire piece on the day it’s set to display. Spencer says,
“Brick sculpture can be dated back to ancient Babylon but remains a fresh and interesting enhancement to any building, wall or environment.
Projects may include bas (low) relief, high relief, full dimension free standing and often a combination. The brick medium has all the same characteristics of durability and low maintenance as a brick building, blends well in settings where other brick construction is present, looks good with landscaping and has a familiarity which is comforting to people. Brick sculpture adds intrigue and interest to a commonly understood material as viewers try to figure out the techniques by which it was created.” (via my modern met)
Our friends at portfolio site builder Made With Color have teamed up with Beautiful/Decay yet again to bring you exclusive artist features. Each week we join forces to bring you some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek websites. Made With Color doesn’t just help artists create minimal and mobile/tablet responsive websites but allows them to do so in a few minutes without having to touch a line of code.This week we are happy to share the work of mixed media artist Cassandra Jones.
Cassandra Jones uses thousands of found images collected from stock photography
agencies, eBay, and public domain archives to create her dazzling digital collages. Culling through thousands of found images, she compiles these photographs to create imagery that tell stories about human observation and the power of photographic imagery in our snap-happy contemporary lifestyle.
Two standout bodies of works by Jones includes her Good Cheer and Lightning Drawing series. In Good Cheer Jones takes stock photos of peppy cheerleaders performing stunts that flaunt their briefs and transforms them into a mesmerizing geometric patterned wallpaper. This type of photography, a young girl in uniform with one leg up in the air, has a duel connotation of family values and pornography all in one image. Good Cheer surrounds the viewer in this paradox of ethical ambiguity. In Lightning Drawing Jones turns to found images of lightning. Merging “Remix Culture” with traditional mark making, Jones groups and connects stock photos of lightning bolts, end to end, to draw a series of circles. Each of these pieces is executed with a different and distinct line quality, including bold, thin, feathered, overlapping, meandering, and fluid linear scores.
About her work Jones States:
My photography archives and the works I create from them are documents of a banality that have emerged from an over-abundance of common imagery. Led by a desire to create a counter to convention, I am attempting to liberate specific visual clichés by embracing them. I draw connections between theses images to demonstrate that the most prevalent scenes we are compelled to capture, somehow link us. Alone, these photos have diverse meanings but when intertwined and woven together they reveal much larger stories of history, ritual, desire and innate human aesthetics, regardless of author.
For her undergraduate project Young and Old, the freshman photographer Kelsey Duff photographed two models: the first is 18, and the second is 65. By excluding her subjects’ faces from her close frame, she catalogs the aging process as it might apply to an everywoman figure; despite trademark tattoos and painted toenails, each woman is stripped of clothing and other common markers of individual identity. Avoiding the impulse to capture moments of conventional portraiture, she shoots isolated sections of each woman with an imaginative fascination, pulling apart the body and fixing each piece within precise borders.
Despite its repetitive and almost anthropological vantage point, Duff’s camera work avoids any sense of coldness or sterility. The choice of warm natural lighting imbues the series with a romance that highlights tone and shadow. As if the subject of a yellow-filled Baroque landscape, the three-dimensional erosion of flesh through stretch marks, scars, pores, and wrinkles are dramatically and reverently seen. Even the clothing change from black skivvies to white underthings reads as part of a years’ old fading process.
The ever-present backdrop of shifting daylight and plain white bed sheets serve to visually condense years into a single dawn or dusk; as Duff follows her visual narrative, the time-lapse between her two subjects flattens, forming a poignantly timeless archive of the evolution of the female body. Caught at two poles of the same lifetime, young and old woman engage in a physical dialogue, exploring beauty and eternity hand-in-hand. Take a look. (via BUST)
For his “Travelers” series, French artist Bruno Catalano sculpts human figures that contain missing pieces. Many of his bronze sculptures are missing a good portion of their torsos, asking the viewer to visually complete the sculptures using the space that surrounds them. The effect of his work varies with the location – a viewer could fill in the figures’ gaps with a variety of images the depend on the sculptures’ surrounding space, from the gallery to the park. Catalano creates an optical illusion, confronting the viewer with an image of impossibility that turns into intrigue. As a former sailor, Catalano has always been interested in the figure of the traveler. He says,
“I have travelled a lot and I left Morocco when I was 12 years old. I felt that a part of me was gone and will never come back. From years of being a sailor, I was always leaving different countries and places each time and it’s a process that we all go through. I feel like this occurs several times during life and of course everyone has missing pieces in his or her life that he wont find again. So the meaning can be different for everyone, but to me the sculptures represent a world citizen.”
Ten of Catalano’s sculptures can be found at the Port of Marseilles. (via the daily mail)
Michael Grab creates his own version of land art by balancing rocks in seemingly impossible ways. Using a learned technique involving patience and a sense of balance Grab finds the process therapeutic and meditative. Grab refers to the work as “gravity glue” and says of the work, “Through witnessing what this art has done for me personally over years of practice, my vision grows more and more to encourage others to seek their own “still-point” or inner silence…This art allows one to freely be themselves, manifesting their own particular vibration into a 3D world.”
Grab believes that stone balancing teaches the practitioner lessons through silence. Using language that describes the benefits of self-realization through meditation Grab discusses stone balancing as a spiritual experience. He describes how the fundamental element in balancing is finding a kind of “tripod” for the rock to stand on. Explaining how each rock requires examination to discover the point of balance, Grab says that the biggest challenge is overcoming doubt. Both honoring nature and the importance of time spent by himself Grab believes that the ephemeral nature of the balance encourages contemplations of non-attachment, beauty and even death.
Grab is available for workshops and live performances. Check his website for any upcoming exhibitions so that you can see his process live.
New York-based artist Lee Price paints realistic portraits of women as they are caught in intimate moments consuming sweet treats and decadent desserts. They are either in bed or in the bathtub, both places where eating is seen as somewhat taboo (aside from the occasional breakfast in bed). Here, we are the voyeur, gazing at not only their location, but what they are eating. In a short statement about her work, Price writes:
In this society, there’s so much pressure for women to be thin. We’re not supposed to have appetites – and not just for food, but for a lot of things. We’re the givers and not the consumers, and I think some of my recent paintings are about the women staring at the viewers and saying, ‘I’m not going to censor my appetite.’
The women in Price’s work are unapologetic about what they enjoy, and it ultimately seems like they are liberated doing so. Many of them look straight at us instead of shying away. As she insinuates in her statement, Price’s work touches on the repression of desire, and the fact that they match our gaze communicates that they are taking control. (Via iGNANT)
British artist Bruce Munro is perhaps best known for his creation of large-scale installations that offer a great amount of experiential weight to viewers. Choosing materials which reflect, and shine light, a metaphor for the artist’s interests in literature, music and science. Often made of humble materials, Munro has often come back to the use of compact discs, a decision that the artist explains, “Initially I used discarded materials to save on costs. Soon material choices also became the subject matter of the installations,” he says of Light. “For me, there has to be a reason—however idiosyncratic—for everything I do and these days I am drawn more and more to the idea of creating an experience that is gentle on the landscape.”
Various projects of Munro’s use repurposed and recycled compact discs in massive quantities, covering hills, estate lawns and fields. In works such as CDSea, enormous fields of the collected discs have a natural element, in this case a meandering path carved through them. The path, which echoes landscape architecture and fung shui design, allows viewers to experience not only vistas of the shimmering surfaces, but also the now-highlighted beauty of the existing grass itself. Speaking of the installation and its process, Munro says “You never know how something will work out, but now I could not be happier. I’m so grateful to everyone who turned out to help. We had a magical weekend and CDSea looks amazing, like a giant painting on the grass” (via hi-fructose, designboom, inhabitant)