For as long as she can remember, Kerstin Zu Pan has been drawing and painting. when she began her studies of the arts, she gravitated to photography as her medium of choice – and with it, refined her unique visual style while combining the languages of various media. using her imagination like a brush, kerstin’s lens takes the familiar and rearranges it, catching beauty by surprise when it plays around in rare, unobserved moments.
The Berlin-based photographer has worked her craft in unusual circumstances, blurring the boundaries between fashion photography and high art. The powder white skinned and rainbow colored hair figures in Zu Pan’s Supervision series (featured here) is one of our favorite bodies of work by the talented photographer.
Sydney, Australia based Alexander Seton’s sculptures are a thing of wonder. Stare at them for a while and you’ll soon realize that these casual images of light weight clothing are in fact carved out of marble, one of the heaviest stones around!
“Alexander Seton’s work memorializes impermanence and the transitory. His marble sculptures give permanent form to fleeting cultural moments and fashions, capturing icons of the contemporary world. In Elegy On Resistance Seton has arranged around a central figure [Soloist] a group of CCTV cameras [Quartet 1 - 4] and hanging hoodies [Chorus 1-7]. The naming of these objects implies a relationship, like a musical performance, an ensemble that bears witness to the resistance of the individual against the apparatus of surveillance and control. The central track-suited man might be a heroic figure, but, in reality, the cities of the modern world are full of such figures, faces shrouded and bodies stooped, faceless everymen who habitually pass through train stations, shopping centres and the outer zones of the non-place. These hooded figures are ambiguous citizens, often feared as potential criminals, or as wild youth gone wrong. In Seton’s work, however, the figure recalls the pose of a Buddha, but with its substance – the body within – missing. There are connotations of religious art here, but in the generic striping of the tracksuit, the hands in pockets, the crossed legs and the unmistakably casual pose of a street beggar, a skillful conceptual play between the ubiquity and invisibility of an instantly recognizable, yet largely ignored figure.” -Andrew Frost
Dominic McGill’s dense works on paper mix the jarring combination of finely detailed pencil drawings and amorphous photographic collages. Both image and text are piled sky high in McGill’s massive drawings, some measuring at over eight feet high and covering a broad spectrum of topics torn from news headlines from greedy executives to the the violence and bigotry of war. With a never-ending flood information coming at you from every direction, McGill tries to make sense of the constant chaos and despair and perhaps find some answers to the worlds many painful questions.
Lia Halloran’s work blurs the boundaries of photography and become self-portraits and drawings as well as records of performances. Light is used to form the drawing line while Halloran skateboards at night through different venues. The resulting images are each a trajectory of the artist’s movements over time. The photographs pair urban environments with lines of light which behave as physical objects or break apart into flurries of abstraction.
The images also have ghost-like connotations, showing action with no trace of a figure and leaving an after-image of where but not of whom. They become memory as well as exaggerations of architecture combined with landscape. The light pollution of the Los Angeles night sky is often heightened by the long exposure time of the camera.
Korean born and New York City based Jay Sae Jung Oh’s dynamic functional sculptures is made out of manufactured objects conspicuously transformed into unexpected new forms, making a strong statement about our current cultural condition of abundance. Sharp attention is focused on reconsideration of the ordinary. In this project, Jung Oh started by collecting discarded plastic objects, assembled them together, and finally wrapping them with a natural plant fiber (Jute). The transformation occurs in the amalgamated form and its concealment. Innovation, invention, and beauty can emerge from anywhere, even the most familiar, ordinary and everyday. (via)
Taylor Holland’s Fra[me's] project came about when Holland visited the Louvre museum and found himself more engaged with the heavily embellished and ornate frames that went around the master works of art instead of the paintings. Using digital manipulation Holland has created a body of work where the picture frame serves both as frame and content of the piece eliminating the need for outside content. Taylor states ” This project was born of the idea that, on several visits to the Louvre, I was often more interested in the artistic merit of the frame than the art itself. The result hopefully challenges the viewer’s notion not only of what art is, but the viewer’s own perceptions about where to find and appreciate art in various settings such as the Louvre.” (via)
Taylor is currently partnering with Saintill Lijsten (Haarlem, NL) to realize a physical prototype of this project by taking antique frames and filling them with hand-crafted molds.
The Beautiful/Decay: Strange Daze Book has been out for just a month and we only have 50 copies left! With only 1,500 limited edition, hand numbered copies ever printed these will soon sell out. Avoid the hassle of searching for it at inflated prices on eBay a few days from now and get your copy today!
Carne Griffith’s fluid and layered drawings are made by combining a layered mixture of calligraphy ink, graphite and liquids such as brandy, vodka, and whiskey. Using the alcohol as an agent to move the ink around the page Carne creates imagery that explores both figurative and floral motifs which move from representation to abstraction in the same stroke of the pen.