Amsterdam-based artist Cedric Laquieze has recently completed an exquisite series of taxidermy Fairies. These probably aren’t the type of fairies you’re imagining – no Tinkerbell-looking creatures here. Instead, the small, delicate sculptures are constructed using a myriad of different insect species, bones, seeds, and even scorpion parts, giving them a quasi-bug look.
Laquieze uses the brilliant blues, greens, oranges, and more to form the fairies’ wings, headdresses, and bodies. The insects are meticulously crafted and seamlessly integrate all of the otherwise disparate parts into a whole. While they might not look like the typical storybook cartoons, they are definitely more detailed and visually intriguing. The artist’s interpretation lends itself to darker, less cheery tales where fairies don’t have to be good. (Via Archie McPhee)
If you find yourself at the High Line in New York City, you can view an installation titled Skittles by artist Josh Kline. It features a large, industrial-sized refrigerator that contains a cultural food trend – smoothies. But, these aren’t the kind you’d want to drink. Instead being packed with fruits and veggies, Kline has ingredients like credit cards, sneakers, phone bills, and more encased in a bottle.One concoction reads: “williamsburg, credit card, american apparel, kale chips, kombucha, microbrew, quinoa, agave,” meaning that they are just sips away.
Each of Kline’s “smoothies” represents a different type of contemporary lifestyle. Components of the drinks spell out stereotypes that we’d associate with the person that lives it. The minimally-designed bottles are clear with the ingredients labeled on the outside. While the packaging all looks the same, it’s the contents that set each apart. Some are colored red while others look like they contain trash. Grouped together, they showcase the physical aspects of a persona who is a product of our culture.
Kline’s Skittles is part of the larger group exhibition Archeo, which is on display until March 2015. (via Laughing Squid. Photos via nyctaeus)
Photographer Patrick Willocq grew up in the Democratic Republic of the Congo and its culture has shaped his work as an adult. In the series I am Walé Respect Me, Willocq provides us with a peek into tribal traditions that are still practiced in the DR Congo. These particular photographs create a narrative that portrays the stories of primiparous (first-time) nursing mothers. They are colorful scenes featuring compositions that are set like a stage, as we see objects hanging from a not-so-invisible string. Willocq speaks more about his images that blend the truth with the fantastical:
I’ve always been fascinated by native tribes because I feel they have a wealth that we have somehow lost. To document this beautiful tribute to motherhood, fertility and femininity, I proposed to some Walés to participate in staged photographs. Each set-up worked as a visual representation of one of the subjects that the Walé would sing about on the day of her release from seclusion. On that day, she sings the story of her own loneliness, and with humor praises her own behavior while discrediting her Walé rivals. (Via Juxtapoz)
Croatian photographer Ino Zeljak’s series entitled Metamorfoza highlights peoples resemblances by combining multiple portraits into a single photograph.While we’re all different in our own special way, some of us look pretty similar to one another. Because with over 7 billion people in the world, many people have the same types of facial features, whether we’re related to that person or not. Sometimes it’s genetics while other times it’s just pure coincidence.
Using brothers, best friends, and parents, Zeljak splits the faces in half with Photoshop and expertly places the disparate parts together. Features are lined up and blended perfectly. His handiwork is so subtle that each image is almost indistinguishable as two people. Instead, they look like one slightly unsettling person who has different color eyes or a crooked nose. But all things considered, it’s reveals that we can look so homogeneous that you’d hardly give it a second glance. (Via designboom)
Beauty is a treasured thing in our culture, and Turkish artist Merve Morkoç, aka Lakor mis, turns this ideal on its head. At first glance their paintings are of seemingly young, glowing-skinned models, but a longer gaze reveals that these subjects all have something seriously wrong with them. Coupled with their well-coiffed hair are fantastical disfigurations that you’d see in a horror film. Warped eyelids, caved in faces, and rashes exist on these young women.
Any sort of pleasant response you initially had is probably gone, and the works are like a train wreck that you can’t look away from. The strange details are intriguing, and it speaks to Morkoç’s expert handling of the medium that they are easily able to fool us into thinking something that’s repulsive is actually beautiful. (Via Hi Fructose)
These bizarre photographs by British artist James Ostrer feature himself and others covered in thick, sticky-looking layers of candy, frosting, and other junk food. Decadent edibles look hardened and become a strange replacement for conventional masks and armor.
Candy and sweets are often associated with joy, but looking at Ostrer’s work its hard to feel that way. They aren’t delightful, but are visceral. Frosting is slathered on haphazardly with licorice used to create outlines. Sometimes, the lines are droopy and it appears that the entire piece is melting. The result is a peculiar and unsettling group of photographs that speaks to the sickening amount of junk food we have available as well as a reinterpretation of the self portrait.
These photos are currently on display in his exhibition Wotsit All About at the Gazelli Art House in London through September 11th of this year.
The photographic series Day & Night by Atlanta, Georgia-based photographer Forest McMullin showcases the dual lives that people lead. As the title may suggest, it captures the difference between what people do during the day versus their evening activities. This often results in the visual dichotomy of the socially acceptable paired with the taboo.
Each composition features side-by-side images of people or a couple. In the photograph on the left, we often see them in professional attire sitting in their living room or at their job. The image on the right, however, tells a different tell. We see the same person clad in leather, completely nude, tied up, gagged, and more. It’s a stark contrast and a side that only a select few get to see.
McMullin’s photographs are meant to challenge the notion of what is considered normal and acceptable. Obviously, in the sexualized images are not seen as common and even deviant to some viewers but are a form of expression and freedom nonetheless. (Via Dark Silence in Suburbia)
Portuguese artist Joana Vasconcelos creates a “second skin” for kitschy-looking ceramic figurines. Animals such as dogs, wolves, snakes, and more are concealed in Vasconcelos’ delicately-crocheted coverings, which are reminiscent of a blanket that your grandmother might have worked on. Whatever surface treatment is underneath, the artist’s handiwork is obscured by small-yet-elaborate flowers that fit over her subjects like a glove.
The nature of Vasconcelos’ work is about the decontextualization of everyday objects. Crochet is often seen as a craft, but here she’s removed it from any sort of practical purpose (like providing warmth or being used in the home) and transformed it into an art object. It now occupies two dichotomies, hand-crafted and industrial, in which the former wraps the latter, mass-produced object underneath.
There’s another way to view Vasconcelos’ sculptures, and that’s applying a narrative to them, like they’re characters in a story. In this respect, it’s seems as though she’s creating a protective garment for them and that her subjects are in need of care. The crochet acts as a shell that gives the illusion of protection from the unknown. (Via Fubiz)