Much of the work of Brandon Vickerd carries an uneasy quality about it. They often feel as if a situation is suddenly shifting from normal to worst-case-scenario. Vickerd’s work reveals the death and disaster hidden beneath the mundane we take for granted. For these pieces, The Passenger and The Passenger II, Vickerd creates life like sculpture from previously living material. Taxidermied animals appear to make up the body of a person that is otherwise waiting. The sculptures were installed in public areas wearing normal clothing.
The artwork of Hans Kotter is decidedly centered around light. Here Kotter creates tubes of lights that appear to stretch on infinitely into the wall. He uses color changing LED lights that shine behind a warped one way mirror. The backing mirror then duplicates the LED lights infinitely. Kotter’s piece are continually changing as the color of the lights gradually shift and as the viewer moves about the room. Though technically constructed from Plexiglas, mirrors, and diodes, it is really the light endlessly bouncing between the mirrors that compose Kotter’s work.
This is the first in a series where each week we’ll gather some of our favorite street that you definitely won’t want to miss. This week we have a mural from Blu that, like much of his work, utilized features of the building. You’ll also find one in a series by Herr Nilsson of some fiendishly violent princesses, a smart wheat paste piece from Peter Drew, as well as new pieces from INTI, Seth, and Ever. Finally, we have Lego block interventions from Jan Vormann, European historical figures with the heads of Olmec statues by Mata Ruda, and a kitty piece from Jesse Olwen. Enjoy!
Designer Raphaël Pluvinage has designed an innovative way for you to play two things you were taught not to: food and electricity. His prototype “game” is appropriately named Noisy Jelly. “Players” first mold jelly using various provided molds and colors. The jelly is then placed on a board that is connected to a computer. Touching the jelly produces a fun array of sounds. Different tones are produced depending on the size and shape of the jelly, the salt content of each mold (determined by the color), as well as where and how the jelly is touched. Check out the video to hear the noisy jelly.
The people pictured here are not modified, mutilated, or even Photoshopped. Rather they are only covered in acrylic paint. The Artist Chooo-San carefully paints extremely realistic extra eyes and mouths, zippers, cords, and plugs on directly on to the bodies of her subjects. Her work is so realistic, it’s nearly disturbing at times and surprising it isn’t digitally manipulated. She says:
“But I guess I was a little sick of everyone making pictures with their computers and wanted to see how far I can go without those technologies such as Photoshop. My works are all done with acrylic paints. They are all painted on skin directly and I don’t use computers or anything to change the picture afterwards.” [via]
The abstract ‘paintings’ by artist Jayson Musson (also known by his alter-ego Hennessy Youngman) are created from piecing together Coogi sweaters, a brand of sweater popular in the late 1980’s and early 90’s. The sweaters carry especially specific associations – Clifford Huxtable of the TV sitcom the Cosby Show or the rapper Notorious B.I.G. However, the sweaters are also known for a specific style that lends itself well to abstract art. Musson elaborates:
“The thing I found most alluring about Coogi sweaters was how painterly they were. They seemingly lingered on the borders of gestural abstraction. I made the joke, “That Coogi looks like a Pollock”. Over the course of the following weeks, I began collecting images of the sweaters, studying their composition. They seemed to defy the traditional logic of the textile, opting instead to appear spontaneous and created by hand rather than machine-made. Each sweater, though a manufactured object seemed to seek its own authenticity.” [via]
Brazilian street artist Claudio Ethos creates huge black and white murals often cover entire buildings. His unique highly detailed style resembles wildly enlarged drawings. However, this isn’t entirely far from the reality of Ethos’ process. His pieces often begin as meticulous ball point pen drawings. Ethos’ talent isn’t only in his creative imagery or drawing skills, but his ability to replicate these drawings on an enormous scale. The resulting style is one that is large in size without being imposing, personal as if you were holding the page yourself.
Artist Ivan Navarro is known for his work with neon and fluorescent lighting. Using the lights in with a one-way mirror and a regular mirror Navarro’s sculpture to extend endlessly. They appear to extend on into infinite darkness, adding a weighty metaphorical layer to his artwork. His work conveys a certain uneasiness with each pieces ambiguous text, which exacerbated by the visual abyss. “There is a certain amount of fear in my pieces”, he has appropriately said. “I make spaces in a fictional way to deal with my own psychological anxiety.”