Margi Geerlinks’ work is concerned with the ways the human species creates an identity for themselves, and the forces that seem to govern this process. She takes four of the Ten Commandments and digitally imprints them on children. She portrays the ageing process by commenting on the ways modern society tries to slow that same process down. The directness of these images may come across as quite blunt, but every visible detail is there to warn us not to jump to conclusions. The children may bear these condemning moral codes on their chests, their pose and actions display a very human insecurity.
Being deeply physical, her art confronts us with the many things that literally mold our beings into shape. Displaying the effects of science, religion, morality and time, Geerlinks photographs are a timeless testament of the human condition. Taking the body as a canvas she tries to show both the current identity of the person photographed and the things that make her become someone else. She seems to categorize the different stages of a human life by representing them symbolically, but at the same time she makes us question the necessity of an age divided society.
Louise Despont explores drawing as abstract meditations, balancing and integrating symbols and forms to link her art to the inscription of narratives and to mystical or literary concerns. Employing and recasting a vocabulary of elements and constructions found within a set of architectural stencils and compasses, the artist renders her drawings on the pages of antique ledger books.
Despont has borrowed the geometries of Indian labyrinths, gardens, architecture, vessels and ancient Buddhist and Jain caves to offer balanced forms – particularly masculine and feminine principles—that engage past and present as indicators and provocations. While leaning towards strong poetic and lyrical translations, these drawings unlock a spatial perceptual field to reveal the formal qualities of surface, texture, scale and form.
While reinvesting introspection and the metaphysical into tropes of abstraction, Despont’s drawings are notable for their levels of sincerity, intricacy and refinement. Even in her larger works, the artist evokes an intimate experience with fine lines and subtle hatch marks revealing themselves only when viewed up close. The resulting works, charged with alternative legacies of cultural and personal, confront the binaries of abstraction and figuration through their encoded compositions.
14 acoustic guitars, 31 dc motors, 300 m cable, fabric and one computer create the wall of delicate sound in Ruben Dhers’Playa. Using the computer to spin fabric-tipped motors just above the guitar strings, Dhers creates an atmospheric symphony played not by dozens of musicians but by a single computer only following the instructions that have been seth forth in its program. Watch the full video documentation of Playa after the jump. (via)
The portraits of German photographer and art director Sebastian Schramm are proof that you don’t need a complicated process to create striking images. Using the everyday debris of life and dead-on placement Schramm transforms one of the oldest tropes in art into something new, unexpected, and beautiful. More of Schramm’s portraits after the jump.
Mathew Borrett’s intensely detailed drawings of maze-like rooms and secret compartments that seem to never end are mysterious puzzles that fade into the nothingness of the stark white paper that they are drawn on.
“From a very early age I used to have frequent dreams about finding hidden rooms between rooms in my house. Usually some facet of my fears or desires would be present in these rooms. As a Lego fanatic, I’d often find fantastic new Lego sets I didn’t know existed (which made waking up a disappointment). Later we moved into an old farmhouse with lots of nooks and crannies and a basement that often flooded. It underwent a lot of renovation over the 17 years we lived there, and I was always fascinated when a wall was removed or temporarily breached and you could pass from one room to another in a new way. The scope of the dreams expanded to include strange gaps and holes and secret shafts that dropped away into spooky abysses. Sometimes I’d explore basements beneath the basement, or attics beyond the attic. I think I’ve probably explored a thousand different dream versions of that old house.”
It looks like painter Jen Mann has been quite busy since we first posted her paintings of women and animals in 2009. Her new work expands on those themes but this time with a powerfully stark white palette that is just plain gorgeous. Looking forward to seeing what she comes up with next!
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Alison Zavos’ article on Photographer Hal.
When looking for couples to model for both this series, Couple Jam, and his ever popular work, Flesh Love, Tokyo-based Photographer Hal goes to underground bars in Shibuya and Kabukicho (Tokyo’s Red Light District), places he describes as “luscious nighttime bee hives”. Musicians, dancers, strippers, service workers and businessmen are all fair game as models as long as they are willing and able to contort their bodies to fit in the confined spaces Photographer Hal obviously has an affinity for.
These photographic “events” take place in the models bathrooms. Photographer Hal explains, “I think of the bathroom as being one of the most private and intimate place in anyone’s home, this provoked a shyness in the models, and created a unique excitement and inspiration in the scene.”
Christina Mrozik is a modern day Audobon following in the footsteps of other talented contemporary painters such as Tiffany Bozic. but what separates Mrozik from the rest is the quiet darkness that looms around each and every one of her delicate paintings. Whether it’s vulture like birds with their beaks tied together or a partially skinned wolf guarding a cracked egg these paintings delve into the underbelly of the natural world with a surreal and macabre flare.