In their series, “Anamorphoses,” French artists Ella and Pitr (Papiers Peintres) transform forgotten, run-down places into colorfully framed spaces that create anamorphic illusions. The duo paints frames onto stairwells, empty rooms, and hallways, giving the normally 2D experience of a frame the depth of 3D. The photographs have to be taken at a particular angle in order to create the desired shot of a figure inside the painted canvas. The outcome is a whimsical portrait that lends playful depth to an otherwise drab and neglected setting. The artists completed these installations and photographs as part of a project for National Dramatic Center of St Etienne. (via my modern met)
As expected, the designs run the gamut in terms of aesthetics; some of the house designs are serious and practical, while others are abstract and absurd. The doll houses were on exhibit during the London Design Festival last month and will be auctioned off in November at Bonham’s in London. (via de zeen)
Darren Wardle‘s paintings are bright and dystopian and evoke a sort of futuristic unease. There are disruptions within the formal elements of his pieces, like dripping, smeared, or seeming explosions of bright colored paint that call attention to the instability of form. I am drawn to the technical skill of the buildings’ architectures contrasted with the artificiality captured with the use of the saturated, day-glo color palette. Wardle is from Australia, but it was during his residency in Los Angeles that he became inspired by the city’s landscape, and created these stunning pieces.
According to Art Collector, Wardle says his work is “meant to be both beautiful and terrible…My work is basically what I see, taken to an extreme. I’m always looking at things through a dystopian prism, but I’m hoping it won’t turn out that way.” His artist statement elaborates, “The points where analog and digital technology meet in painting are similar to where the natural and the synthetic meet in our everyday experience of constructed space. The structural disintegration, or renovation, deployed in my work embodies a generalized anxiety about architecture under threat from an unspecified force, be that natural or man-made.” Of his portrait painting series titled “Head Case,” Wardle explains, “There is a connection between the psychological interior and representations of interior space. At a subconscious level the room is a projection of our own skin and is a metaphor for the interior self.”
German hotel owner Michael Bonner has transformed a 600 square meter vacant warehouse into Base Camp Bonn Youth Hostel, an indoor landscape of 15 refurbished and themed caravans. Each caravan’s space is uniquely detailed and designed to reflect a particular era or theme, such as the “Hausboot,” “Flower Power,” and “Big Ben.” The hostel also plays host to two U.S. airstreams and two German railway cars that can accommodate small groups. This concept creates a charming community space for guests from all over the country. Prices vary per size and sleeping capacity, but start at EUR 54 per night. (via design boom)
I couldn’t find much about Dutch artist Eduard Bezembinder‘s work (most likely due to a language barrier and a seemingly sparse but fun website), but his Flickr page is full of interesting painting, drawing, graphic design, and collage art. Additionally, his Saatchi profile claims he is “one of the first art bloggers.” I love these particular collages because the image integration is nearly seamless, which increases the absurdity to be found in these juxtapositions. Heavily featuring a mix of mythical, classical, and pop culture elements that represent interactions between the animal and the human, these collages are both nostalgic and humorous. (via feru leru)
For his series, “The Architecture of Density,” German photographer Michael Wolf captures the intense suffocating density of the city of Hong Kong. The framing of the buildings and apartment units creates a flattened, patterned image with details of individual residencies apparent only on closer inspection. The result is an abstraction that gives the appearance of infinity, as if these incredibly compact and dense structures never end. Hong Kong is one of the most densely populated metropolitan areas in the world, with an overall density of around 6,700 people per square kilometer, a fact you may recall from a previously featured photography series of the city’s cramped slums.
Wolf’s work is primarily concerned with urban landscapes and places, not always in such an objective, distanced manner. His series, Tokyo Compression, captures Tokyo subway users’ faces pressed up onto the glass of the subway car, a result of the overcrowding of this form of transportation. No matter the proximity to his subjects, Wolf offers a new perspective on the movement and energy of city life in his documentation of its density. (via curious history)
Barcelona based artist Sergio Albiac creates these abstract portraits by writing computer programs that generate images, always including code that will randomly generate some aspect of the results. Through this medium of expression, Albiac has found a captivating balance of control and randomness, such as the portraits of Rimbaud and Neruda created from their words and signatures.
Albiac explains his process, “When I code a generative sketch, I introduce control (the sentences that govern the sketching action) and also a degree of randomness in the code. This is a machine control/randomness balance. Then, I select certain outputs (again, human control) and I paint a canvas using the selected generative images as an starting point, without the aim of exact reproduction. The act of painting is a struggle between control and randomness because, depending of the painting technique, paint behavior cannot be totally controlled by the painter. In this way, I explore a fascinating “dialogue” between control/randomness and machine/human interaction. It makes sense to me. I feel connected to artistic tradition but using the generative sketchbook process, I can create in a very contemporary and innovative way that deeply reflects the ideas I need to express.”
San Francisco based artist Alec Huxley‘s large and cinematic sci-fi paintings are filled with noir-influenced contrast. Both bleak and bright, his paintings largely take place in urban or desert landscapes of the American West Coast and are representative of both science fiction and surrealist inspired narratives that often include animal figures. Huxley’s use of light throughout his compositions lend his work a realism that is rather haunting, and reminds me of something you’d find in an apocalyptic comic book narrative. His solo exhibition, “Astronomical Menagerie,” is described below and currently on view at the Minna Gallery in San Francisco until October 26th:
“At the witching hour, fashionable figures in space helmets rendezvous with wild beasts in the empty streets of San Francisco. As animals are central to our perception of humanity, relationships of power and domination juxtapose with naked reminders of human frailty. Confident in our ingenuity, we float about cities at the apex of species. Absent our imagination and material protections, we stand vulnerable beside creatures functioning solely to survive.” (via exhibition-ism)