If you don’t know about Camille Rose Garcia and her twisted fantasy worlds, now you know. The artist has been killin’ it for a while with dark mixed media paintings that are easy on the eyes the way the poisonous apple in Snow White tastes good- you know there’s something sinister at work here, but you can’t help yourself anyway. Garcia’s colorful works feature animals and pretty ladies, neither of which are innocent. Watch your back. More snaps after the jump, and check out her blog, which, if not updated regularly, is a nice window into what the artist’s thinking.
Typographical force of nature and NYC-based graff artist Andrea von Bujdoss (Queen Andrea) just closed a show at Erik Foss’ Fuse Gallery. Here are some images of the work in the show, Typograph. The Queen is one of the cleanest out there for this type of thing. And the show was packed to the gills with references to super heroes and comics, 8-bit tribal patterns, and lazer-quality lines from the artist. Von Bujdoss is also a fairly prolific designer/illustrator, pulling down some large clients. Check it after the jump.
Let’s check in with Dutch artist/designer/illustrator mogul Parra for a second. What’s that dude been up to lately (besides a show at SFMOMA)? Well, looks like he’s still killin’ it with his idiosyncratic minimalistic style. Birds, babes, food, and his signature palette still in full force- good to know he’s not slowing down. His style has always had an element of vintage 70s illustration, but not that of this planet. If you’re craving some Parra imagery for your own consumption and can’t afford a limited run print or sculpture, you can head over to his clothing/design company and score somethign there.
“Sitting is perhaps the most common condition from which we experience architecture. Whether we work, relax, watch, eat, sleep, or talk to each other, sitting is at the core of our relationship to buildings.”
“SEAT” is an installation in Atlanta’s Freedom Park produced by E/B Office (Ju Lee and Brian Brush). The piece involves 400 chairs assembled in a sine wave formation “drawn into an agitated vortex rising from the ground.”
The “SEAT” pavilion was organized in part by Flux Projects, an Atlanta based public arts organization. (via)
Illinois-based artist Chad Wys does a lot of different things. He’s worked with collage, sculpture, textiles, aerosol, digital media, and more. A lot of his w0rk manipulates and completely shuffles the tone of established, familiar forms. Strategically removing aspects of canonical portraiture, painting a kitschy duck sculpture in pastels, and stenciling text elements onto benign porcelain and china are a few methods he’s employed to mess with our brains. But this type of art isn’t produced in a malicious way. It’s just the artist’s way of getting us to see things the way he sees them for once. (via)
French artist Xavier Veilhan is staging a series of site-specific sculptural installations in various international, architecturally significant structures as part of a project entitled Architectones. To kick off the series, the artist is presenting works at the Richard Neutra VDL Research House in L.A. The works on view at the Neutra VDL Research House (exhibit closes September 16th) are inspired by modernity, Richard Neutra, and the house itself, where the artist stayed with his family while completing each piece in the show; an echo of Neutra’s family life. Curated by Francois Perrin, the exhibit features models of cars and boats, a metal flag, and more.
Over the next year, the VDL project will be followed by Pierre Koenig’s Case Study House #21 (1958); the roof of Le Corbusier’s Cité Radieuse, Marseille (1952), (set for spring 2013); St. Bernadette du Banlay Church (1966) by Claude Parent and Paul Virilio, Nevers, France; and the Melnikov House (1929) in Moscow. After the jump, more pictures of the show. (Photographs by Joshua White).
San Francisco-based artist Michelle Fleck creates slightly minimalistic acrylic paintings that deal with the “relationship between man and the landscape”. In the paintings, decaying natural environments are sullied by the trappings of construction work and neglect. What’s great about these, in addition to Fleck’s nice illustrative sense of texture, is the artist’s intelligent handling of her subject matter. It’s so common, whenever drawing on environmental themes, to be heavy-handed. To sort of say, “I’m talking about the environment now, and it’s very important so look at what I’m doing.” Instead of taking that route, Fleck just paints what she sees (of course taking care to include pointed compositions and visual appeal). Some situations don’t need extensive commentary, just a skilled storyteller to show you just enough of what you need to know.
Gal Weinstein, based in Tel Aviv, does some really cool sculptures. Burning tires, mosaic explosions, sputtering chimneys- this stuff is hard to ignore. Some people feel that we’re closer to the apocalypse now then we ever have been, whether it’s brought on by our own means or otherwise. Weinstein’s work often illustrates a sparse, unforgiving wasteland full of smoke and red brick. Even the sculptures that depict elements of life are disconnected, removed. Farm plots are reduced to tiny, green squares. The closest we get to humans are rows of stoic Foosball figures. But somehow there’s still hope in the artist’s work, which holds color and intrigue. (via)