Monsters faces, robots and crazy looking animals made our reclaimed cardboards and boxes transformed by artist Bryan Rogers are taking over the trash spots on the sidewalks of Brushwick in Brooklyn, NY. They create a surreal ambiance in the middle of the streets. Bryan Rogers collects thrown-away pizza boxes, cardboards, boxes of any sizes from the neighborhood every week and make them into sculptures. He puts them out back on the sidewalk next to the collected trash and check if they’ve been taken or not. So far he says, the armor-clad centaur had its head taken first and the rest of its body later. He takes pictures of them and creates fun and dynamic animated Gifs he posts on his blog.
In the path of other artists designing art from reclaimed means he uses the streets are inspiration. Dag Weiser, following the same process, uses cardboards to build fantasy characters and display them outdoors. The rendering is creative, positive and ephemeral. The boxes are painted with vibrant colors, the body of the creature is punched, cut out and some small elements might be added (teeth, ears, hands and feet…). Bryan Rogers does not collect his art, he picks up unwanted materials, creates for his pleasure and ends the life of his disposable art the same way it started.
Discover the Moving Boxes on Bryan Rogers’ blog, updated daily.
Barcelona based artist Conrad Roset defines the “Muse” in his incredibly seductive works made using watercolor and ink. Pulling inspiration from the raw nudes of Austrian artist Egon Schiele, his female figures stretch and bend in elegant ways, forming distinct, bold lines across the composition. He uses deep, black ink that covers up these women’s bodies like a veil, creating a harsh contrast to their pale skin. Each muse wears this blanket of black beautifully, as if it is her own shadow. Conrad Roset uses sparks of color to highlight the flora that appear in his work and also in certain rosy cheeks and the tips of fingers and toes. The subtly of the color and line creates a delicate contrast to the richness of the heavy black ink.
Conrad Roset explains that,
“I search the beauty the body exudes, I like drawing the female figure.”
He is intrigued and focused on the female figure as a subject. The women in his illustrations are undoubtedly stunning, and can also seem both fragile and strong. They are bold in nature but delicate in beauty. Roset’s body of work has a high fashion flavor, as he has done work for clients such as Zara and Elle Magazine. His captivating works are on view now at Spoke Art Gallery in San Francisco. His debut, solo exhibition titled Pale will be on view there until September 26th. (via Hi-Fructose)
While living in Germany for the past seven years, photographer Samaneh Khosravi noticed that there were many misconceptions within the Western understanding of Iranian culture. In a project titled “Among Women,” Khosravi seeks to shed new light on a lesser-known facet of modern Iran: its diverse women’s fashion and beauty scene. In the photos, Khosravi accompanies the women as they shop, socialize, and even visit with their plastic surgeons. The images were compiled into a book titled Among Women, which Khosravi describes below:
“This photo book documents the beauty ideals of today’s Iranian society, which are hardly known outside of Iran. It focuses on the young, confident Iranian women, who define their ideal of beauty with the interplay between modernity and tradition. More often, the simple beauticians are not enough for the young Iranians, and therefore the plastic surgeons need to lend a hand sometimes.” (Source)
In a world wherein the media is so often dominated by Western standards and perceptions, Khosravi’s project is important in providing us with an authentic glance into her culture—one that hasn’t been filtered through a Western lens. We see familiar images—the nail salons, the shopping arcade, the self-conscious glance in the mirror—but Khosravi’s candid style reveals a cultural distinctness in Iran’s approach to beauty, one that has its own nuances, such as the combination of traditional head scarves with modern makeup styles. “Iran is different,” she writes. “Iran is not only different from Germany, but also from the image presented by mainstream media” (Source).
It is Khosravi’s dream to disseminate this detailed perspective of Iran to the world. She is currently seeking support to publish her book with Kerber Verlag, which means it would reach a greater number of people. If you’re curious about Iran and you wish to support an image of the country that doesn’t fall under the umbrella of Western unilateralism, be sure to visit her crowdfunding page and help her reach her goal. The book is aimed for publication in October 2015. Visit Khosravi’s website, Facebook page, and Instagram to follow her progress and learn more.
The work of Nicola Samori depicts dying corpses and mysterious portraits scraped, scratched and torn on the surface, unveiling layers of contrasting paint. Dark and intense paintings, covering layers of existing work, like flesh covering the accumulation of past experiences and traumas. The artist chooses to damage his previous paintings on purpose. He feeds the canvas, daily; until the texture becomes ’intense and palpable’. Using his fingers or a knife to destroy the apparent layer, the result of what feels like a painful process is a magnificent harmonized agony. By scraping his paintings, Nicola Samori tries to search for true identity. A person’s face on a painting is not a valid representation of who this person really is. It doesn’t give a true essence of its inner personality and soul. Exploring what’s underneath the surface is the purpose of the artist.
Body, death and painting are, for Nicola Samori, subjects of obsession. By punishing the three altogether on the canvas, he opens the wound and sets himself free. His layered macabre creations are the structure for his catharsis (act or process of releasing a strong emotion into an art form or any extreme change in emotion that results in renewal and restoration). Apart from the fact that the artist doesn’t fancy working with colors, according to him; the source of darkness does not reflect a state or a belonging; what is made from it is what’s interesting. A rough process symbolizing metamorphosis of deep emotions into meaningful and empowering art pieces
Anna Maria Bellman intricately translates cartography into her own unique style by simplifying their elements into positive and negative space. She cuts precise slices into paper, constructing sections of maps of cities all over the world. Each hand cut incision represent paths on a map, building up the framework for a city. The artist’s work is heavily influenced from her extensive travels. Originally hailing from Germany, she has adventured to an impressive amount of cities including London, Berlin, New York, Paris, and Rome, just to name a few. All of these incredibly complex and diverse cities are represented in her work as a black and white composition of crisscrossing lines, intersecting and forming the streets and rivers.
Many of her cutout maps do not even appear as such, but rather an abstract grid of geometric lines, forming different shapes and patterns like tapestries. When the light shines through Anna Bellman’s maps, you can see their shadows creating a three-dimensional affect. Having explored more wilderness destinations as well, Bellman’s other works are highly floral and inspired from lush nature. Her nature-filled works include amazing patterns cut by hand, as intricate and delicate as those found naturally in the wild. Although Anna Bellman’s body of work can represent two ends of the spectrum, nature and city, the continuous monochromatic choice of using white paper unifies her brilliant work.
Segawa 37 pays tribute to Japanese art by creating Gifs from the original work of traditional Japanese woodblock prints, “pictures of the floating world’. Most of the time, he only animates a few parts, adding a realistic and modern add-on to the art piece. In other images, he blends in futuristic elements, denaturalizing the first intention of the historical painting. Originally, Japanese woodblock paintings, also called Ukiyo-e, were depictions of everyday scenes in Japan. Affordable, they represented the possibility for the mass to access art. Segawa 37 gives a new life to these prints by altering their core. From hyper realistic to surreal, the artist offers to the modern world a new way of looking at a classic form of art.
The most emblematic representation of Japan, a contemplation of movements; calm and serene, but always intense remains within those wooden prints. The artist’s reinterpretation of Katsushika Hokusai’s images is disturbing the stillness and tranquility of the scenes. The Shinkansen, a Japanese high-speed train is passing by travelers resting at a station, a person is driving a segway in the middle of a road field, a couple of people, watching mount Fuji are also seeing a extraterrestrial flying saucers passing by. What is meant to be admired in almost a meditative state is now entertaining.
Ashley Oubré is a self-taught artist from Washington, DC, who paints large-scale images that could easily be mistaken for photographs. Using graphite powder, India ink, and carbon pencil, she masterfully creates dramatic contrasts and realistic textures. The human subject is explored widely throughout her work, often portrayed in soul-searching states of vulnerability and contemplation. She also has a fascinating jellyfish series, in which she perfectly captures the invertebrates’ translucent bodies and trailing, ghost-like movements. Each of her works is marked by an accuracy that subtly transcends the boundaries of reality, drawing the viewer’s attention to the beauty of form by accentuating the details.
In a statement provided to Beautiful/Decay, Oubré described herself as an “artist who paints (my view of) the human condition.” A tangible presence surrounds her portraits. Drawn to subjects who have endured social hardships, Oubré’s grayscale style sensitively portrays the physical nuances of pain and rejection. Despite their defeated poses, the figures resonate with an honest and unwavering strength. By evoking powerful emotions in the viewer, Oubré’s work enacts a form of healing and empowerment through representation.
Have you ever been staring at the screen on your phone so long that you feel like a zombie? Well, Steve Cutts illustrates this bizarre technology, zombie-like phenomena as a terrible reality. His vividly colored illustrations and animations cleverly and satirically portray contemporary society as a series of greedy monsters, zombies, and hollow-eyed humans with no trace of humanity. Each scene exposes the sad truth of what is wrong with the world today, with money hungry men and dismal humans being completely controlled by a piece of technology. He uses a graphic novel-like style, full of bold colors, with an intensity that will stay engrained in your mind for years to come. The London-based artist illustrates and animates depictions of familiar characters like Roger and Jessica Rabbit in a somewhat humorous, but undoubtedly dark way.
The abysmal world that is portrayed is one of shallow intentions and hopeless monotony. Steve Cutts’ work leaves us questioning our own society and our role in it. He points a stern finger back at the viewer in his vibrant, unforgettable work. Displaying the ‘rat race’ we all find ourselves in as one with actual rats, it shocks us into contemplation. These rats are not only stuffed into small places, but also caught and killed brutally in a trap. Steve Cutts’ work is insightful, intriguing, and incredibly well done, however, this is not a world that is appealing to the masses. Make sure to check out his full animations on his website. (via Bored Panda)