Artist Li Lihong expertly juxtaposes two familiar but disparate sets of imagery. He renders familiar corporate logos as three dimensional sculptures. However, these are more than just sculptures. Li uses traditional ceramicist techniques coupled with Chinese iconography. The pairing of traditional and contemporary, East and West, corporate and fine art isn’t such a violent clash one may expect. Rather, the over arching familiarity, through from contrasting sources, is nearly complimentary.
I know it wasn’t easy for you. That is, those inevitable years, often landing around middle school, when we all seem to exude an uncontrollable weirdness. While doing our best making our way through that awkward phase, it often seems like it’ll never pass. However, designer Merilee Allred offers proof that it does indeed pass. Her Awkward Years Project captures not-so-award looking people showing off their awkward years photos. While the project does illustrate that us nerds, geeks, freaks, fashion illiterate, and all around weirdos do pull out of it, it points out something more important: when it seems like no one will go easy on you, perhaps especially when things seem this way, own it.
The installations of Katharina Grosse are disorienting in scale, color, and material. Her use of color is wild bordering on violent. Brightly colored paint is sprayed over any surface the artist pleases, from the floor to walls and windows. Huge heaps of painted dirt fill the gallery space transforming the space from an architectural to a geological one. The dirt, paint, and various objects seem to intentionally undermine the white box that houses the installation. Her installations raucously question the very space they inhabit by allowing visitors experience it in a transformative way.
We often think of bodies as opposed to landscapes. The figure belongs to the portrait and natural scenery to the landscape – bodies inhabit the landscape. For Carl Warner‘s series of photographs, though, the bodies make the landscape. Twisting torsos, bent limbs, crevices, and folds are given finer than the typical attention. Layering of bodies and parts with such focus on detail create landscape like images. Mountains, caverns, and valleys seem to rise out of the figures and become a land of skin. [via]
Thierry Dreyfus doesn’t hang his art on the gallery wall, but instead splits it. His Rupture installations use the white box gallery space as a starting point. The pristine walls seem to have cracked and slightly seperate as if it were a tectonic fault line. Inside is the craggy masses of wall bathed by a warm golden glow or a cold silver light. The fissure encourages the imagination to speculate on what lies beyond the walls. It is interesting to notice how the color of the light colors the imagination in connection with the ruptures. While the golden crack nearly conveys a fairy-tale like curiosity, the silver rupture has a menacing sort of undertone.
Hal Lasko, affectionately called ‘grandpa’, creates amazing art pixel by pixel in MS Paint. Lasko worked for years as a typographer creates fonts by hand. Though now 98 years old and suffering from Wet Macular Degeneration – an affliction that causes blindness in his center of vision – Lasko never stopped being an artist. He was introduced to MS Paint by his grandsons and took to the program quickly. MS Paint allows Lasko to “zoom in” on his pieces and work a small part at a time, pixel by pixel. The process is laborious and time-consuming but works perfectly for Lasko, a patient artist. Check out the video to see a short but touching documentary on the artist and his work.
Hyuro has a very peculiar style of street art. Her work is highly detailed and uses subdued colors. It is her artwork’s narrative quality that makes it stand out. Each mural seems to be a very small piece of a much larger story. The viewer passing the mural almost feels like an interruption to some mysterious goings-on. The influential fellow Spain based street artist ESCIF poetically says regarding Hyuro and her work:
“Hyuro doesn´t paint on the street. Hyuro talks to the street. And she does it with such respect and affection, which are the others who, as we approached, we paint the walls that she just whispers.”
The installations of Dominique Pétrin are visually overwhelming. Images, patterns, and designs seem to cover every as much available space as possible. Walls are plastered from floor to ceiling often even covering ground. Her expansive installations overlay the outsides and insides of buildings alike. Pétrin accomplishes her pieces by using large silk screened panels of paper. The imagery recalls an internet of the early 90’s – a time when the overabundance of information and imagery the web had to offer was only beginning to come clear.