LA/Tokyo based designer Aaron W Björk’s new web project Bjorky is an experiment in saturated color, bizarre compositions, and beautifully awkward illustrations that go back and forth between abstraction and retro prints from unknown worlds. Can’t get enough of Aaron’s work? Get a copy of B/D Book Exquisite Corpse for more neon coated goodness.
When I think of Julian Schnabel I think of many things but inspiring artist mentor is not what comes to mind. However after watching this half hour documentary I just may have changed my mind. Created by HBO and non-profit YoungArts, this video documents a day of intimate mentorship with the notorious painter and filmmaker where he discusses his working process, various bodies of work, and how his flims and paintings inform one another. One of the most memorable parts of the documentary comes towards the end when Schnabel tells the teenage artists “If you’re scared, You’re fucked.” This piece of advice may seem a bit harsh but I have to admit that I’ve warmed up to Schnabel after seeing how generous he is with his advice and time without sugarcoating the harsh realities of being an artist. The students walked away from the experience excited about creating and experimenting and I think I may have as well. Watch the full documentary posted above and remember whatever you do… don’t be scared!
We’re happy to present the second installment of Hennessy’s mini documentary featuring Elliott Wilson, Founder of Rap Radar and Editor-in-Chief of Respect. Follow Elliott through Brooklyn as he discusses how he became a prominent voice in hip-hop music and how he discovered his creative voice. Wilson advises that the only way for a young writer to find his voice is to keep writing; eventually you’re going to reach real opinions on a topic that’s important to you. Take a trip down the rabbit hole. Watch more Hennessy videos and learn more about this movement at neverstopneversettle.com.
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Alison Zavos’ article on Matthew Albanese.
“DIY Paradise” was constructed from cotton, salt, cooked sugar, tin foil, feathers & canvas.
My work involves the construction of small-scale meticulously detailed models using various materials and objects to create emotive landscapes. Every aspect from the construction to the lighting of the final model is painstakingly pre-planned using methods which force the viewers perspective when photographed from a specific angle. Using a mixture of photographic techniques such as scale, depth of field, white balance and lighting I am able to drastically alter the appearance of my materials.—Matthew Albanese
Matthew Albanese is a fine art photographer from New Jersey who specializes in creating and photographing miniatures from common household objects and materials. “New Life I” (pictured above) was constructed using painted parchment paper, thread, hand dyed ostrich feathers, carved chocolate, wire, raffia, masking tape, coffee, synthetic potting moss and cotton.
The Good folks at Hennessy bring you a three part mini documentary featuring Elliott Wilson, Founder of Rap Radar and Editor-in-Chief of Respect. In this first video Wilson heads to the barbershop where, he explains, the voice of the street is heard. The man with endless talking points reminds us that, “your opinion is nothing unless you can back it up.” Join Wilson and Hennessy on a trip down the rabbit hole and watch more Hennessy videos with some of the worlds leading pop culture creatives at neverstopneversettle.com.
Within the setting of his captured vistas Vasilis Avramidis typically paints an arrangement of symbolic motifs, rendered in a way to be suggestive of neglect. These depicted scenes and objects are overgrown with moss and ivy, alluding to an overriding sense of decay that the paintings’ inhabitants desire to control and maintain. These characters are gardeners, keepers of sites, land and buildings. They are the caretakers.
The paintings express a repetition of varying hues of green, a reference to the duality between sickness and growth and how the land eventually reclaims everything that sits upon it. Objects being imbued with foliage confirm these concepts of the ongoing and endless conflict between the forces of destruction and the forces of philosophical cultivation. This force of nature against man-made structures and ideologies not only conveys a relentless struggle but also comments on the history of art and architecture being overwritten and unearthed with the passing of time.
Alberto Tadiello’s works explore the possible forms of autonomous function associated with different objects and mechanisms as they undergo a parossistic conceptualization of their own functional logic. This logic is altered and tampered in order to start reflecting upon those deeper and psychological aspects which connect people to things and technologies.
Shay Kun’s paintings push viewers to challenge their philosophical and aesthetic limitations. While the paintings use appropriated images from the internet, glossy magazines and daily life, they question where fantasy begins and reality ends. Our dreams and thoughts are capable of taking us on journeys beyond reality, but when do we actually cross that threshold? Could we have actually experienced scenes as we remember them?
Each piece in the exhibition explores fantasy and escapism not only with evocative imagery, but also with a variety of source materials and methods of display. In Brief Encounter, Kun offers a film noir still of a car driving into the depths of a rainy night and invites onlookers to remember not only familiar films with similar atmospheres, but their own experiences with departure and loss. Kun also manipulates the foreground into a complex, dramatic tableau; the foreground presents an almost surrealist puddle without the literal interference of a window. Condensation from precipitation, however, is reserved for the background; the scenario is physically impossible, and the painting teases the mind to understand its dissonance.
Objects like ropes, hot air balloons and old-fashioned cars accrue an almost satirical element with their nostalgic references to a pleasant past and childhood. These idyllic environments are predominately kept in the background of these pieces, but the masterfully painted objects feel at once fresh with their photo-realistic qualities. These are contemporary works that challenge the effectiveness of memory and suggest that nostalgia shapes and colors our interpretations of the past.