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)
Malaysian based artist and designer Tang Chiew Ling creates illustrations using unconventional illustration materials. Using things like cotton and leaves, Ling will create a fashion illustration around these objects, recontextualizing them into an interesting new design. For these particular illustrations, Ling uses the natural beauty and curves of leaves found in her garden and in drains to illustrate high-end fashion for various models. With her careful and deliberate arrangement of decaying and dead leaves, Ling transforms nature into fashion. (via design boom)
In his new book, Across the Ravaged Land,photographer Nick Brandt features petrified animal remains found along a lake in Northern Tanzania that contains lethal levels of alkaline.
Brandt explains, “I unexpectedly found the creatures – all manner of birds and bats – washed up along the shoreline of Lake Natron in Northern Tanzania. No-one knows for certain exactly how they die, but it appears that the extreme reflective nature of the lake’s surface confuses them, and like birds crashing into plate glass windows, they crash into the lake. The water has an extremely high soda and salt content, so high that it would strip the ink off my Kodak film boxes within a few seconds. The soda and salt causes the creatures to calcify, perfectly preserved, as they dry.
I took these creatures as I found them on the shoreline, and then placed them in ‘living’ positions, bringing them back to ‘life’, as it were. Reanimated, alive again in death.” (via gizmondo)
Lora Zombie‘s watercolors may look familiar: the Russian artist amassed a large internet following on sites like Threadless before recently branching out into the gallery scene. Inspired by music, street art, grunge, pop culture, and the color palette of Lisa Frank, Zombie creates these bright, youthful, and edgy watercolor scenes. Her work is comprised of a multitude of references that can be fun, gritty, absurd, or counter cultural, but each tells a story with fairy tale dimensions.
You can watch a video of Zombie in New York City for her “Blue Bird Lobotomy” show in November 2012 here. You can purchase prints of her work here. (via lustik)
Montreal-based artist Francois Chartier creates still-life paintings with a photorealistic quality. He often pairs the still-life object with an image of crumpled tissue paper that is dramatically shaped around each object, creating an overall presentation of the still-life object. The juxtaposition of these textures – matte and crumpled with the bright and shiny – demonstrates Chartier’s level of skill as a realistic painter. Surprisingly, Chartier hasn’t always been a painter. After 30 years in advertising as a commercial artist, he entered the fine art world full-time at the age of 50.
Chartier applies the acrylic paint with an airbrush onto a smooth gesso base. He explains, “Although my paintings are realistic, my goal is to create through the layering of mediums and the play of the brush, the illusion of depth and sense of presence beyond what is found in photographs. . . I am drawn to painting large scale works where my subjects, always painted bigger then life size, are given room to seize the viewer and where life’s smaller details are revealed in their beauty and simplicity.” (via juxtapoz)
On his blog, “The Daily Doodles”, self-taught artist David Michael Chandler features an illustration or gif every day accompanied by a story or poem. Most of his work is representative of childhood fears and nostalgia, and includes science fiction and fantastical elements. I love his bright color palettes and dreamy narratives. His worlds are full of childhood imagination and possibility.
Chandler says, “Everything I create on my site is written and drawn by me alone, and I love how I can control every aspect of my art and have it succeed or fail with only me to blame. I try to keep it all as original as possible, and as a rule I don’t reference anything from pop culture, such as TV or movies.”
Chandler currently lives in Los Angeles. (via art chipel)