Dutch artist Edwin Deen works in a wide array of materials and situations from sculpture to found object groupings but his rainbow sprinklers caught our eye immediately. Consisting of a simple garden sprinkler that can be found at your local hardware store, some paint, and a little ingenuity Deen transforms entire rooms in minutes with the help of some water. It would be interesting to see this done with food coloring and in an outdoor setting but for now we’ll enjoy these colorful installations and wait for Deen’s next project. More works by him after the jump! (via)
Portland, Oregon based artist Storm Tharp’s fluid figurative paintings mix ornate patterning with a delicate “happy accidents” style of brush work that make his striking figures seem to be in motion yet completely still. This playfulness of medium creates an unsettling state in the work making each piece psychological portraits of figures who could be real or completely out of the artists imagination.
Serbian designer Bratislav Milenkovic’s imagery sits at the intersection of typography and illustration usually combining the two to create cleaver and playful images. Morre Typography fun after the jump.
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Alison Zavos’ post of work by Photographer Andreas Jakwerth.
Vienna based photographer Andreas Jakwerth set out to depict the evil beards of the world with One guy, 6 different beard styles, six villains and contemporary fashion!
The series ‘Beards of Evil’ combines the beard style of some of the more evil villains of mankinds history with contemporary, urban fashion. For us, it was interesting to see how nicely some of these styles would work with today’s fashion even though you cannot wear a beard like these nowadays.
I shot this series for the Austrian magazine thegap, which focuses on urban culture and music. One of their friends who had been growing a beard for about seven years, decided to finally get rid of it, so we jumped in and realized the series with the help of stylist Magdalena Vukovic and hairdresser Thomas Pavlidis. The model, a non-professional, changed his expression to fit perfectly with the style of beard he was wearing.
In the end the series never got published in the magazine because one of the fashion labels didn’t like the historical person we chose for their clothing.—Andreas Jakwerth
I have a massive library of artist books piled towards the sky and I’m always seeking the next artist monograph to add to my book collection so it was a special treat to get Erik Parker: Colorful Resistance in the mail last week.
Erik’s been a friend of Beautiful/Decay for a long time now, first appearing in a feature length interview in Beautiful/Decay Issue: O complete with cover art (Get your copy here). Since then we’ve kept in touch with Erik and followed his work as it continuously evolves, grows, and pushes forward into mind bending and candy coated directions. Colorful Resistance is the first retrospective look at Erik’s work with over 256 pages and 300 massive images of almost everything Erik has made since the 90’s to feast your eyeballs on. If that’s not enough Erik’s close friend Kaws did a fantastic interview with him at the end of the book where they discuss everything from collecting other young artists artworks to how flowers can look like genitals.
San Francisco based photographer Rob Prideaux’s exquisitely shot images of smoke and fire are a perfect example how a very simple subject manner can be pushed to a new level of creativity. Setting out to explore the aesthetics of smoke and fire Prideaux chose to minimally retouch the photos of fire and create heavily retouched patterned imagery out of the smoke. The result is triumph of aesthetic beauty, fires magnificence, and the intangible allure of smoke as it appears and disappears into the air in a matter of seconds. (via)
“My recent work references a variety of artistic techniques and influences from traditional oil painting and modern digital photography to the iconography of ancient Egypt , the American pin-up and nineteenth-century taxidermy. In this group of work, I seek to chronicle the relationship between the genesis of female icon objectification and its historical development. These works describe the psychological juxtaposition between the inherent urge to exploit one’s own short-lived youth and the pressures of adhering to social expectation. I explore the push and pull of these two concepts, asking how they have affected the female psyche and as well as how society has actively created its own vision of the idealized female.
My source material includes a range of visual elements, attempting to portray diverse visualized vernaculars, both past and present, into single compositions. My centralizing of the female figure illustrates the tensions and conflicts between the power of their beauty and strength of their character, as well as their inevitable vulnerability. Historically, artists have exploited the tradition of realistic oil portraiture not only to create a likeness, but also to embody the essential character of the subject. My paintings reconcile traditional portraiture with the more modern idea of an active subject, depicted not solely based upon her social status, but immortalized for her beauty and appeal. Similarly, the inclusion of taxidermied trophy animal heads alludes to the vulnerability of a creature that is prized for its beauty, complicating the notion of power attributed to the anthropomorphized deities of the ancient Egyptians. Finally, the figures are foregrounded against fragmented views of digital interruption and pixilation, serving to remind one of how computerized communication has profoundly affected how we reimagine the female form.”