Of her work, Kristalova states, “My ideas are about how it is to live a life; love and fear and what’s in between. I think and draw, looking back on past works, then gather the images together, gauging my own reaction to them, and start to build. I do everything in my studio in my yard, in my kilns. I mainly work alone because even painting a tree trunk has to be done my way, to be the right ugly.”
Alicia Savage captures her life with a surreal twist that pushes beyond the static point and shoot. From absurd flights of fancy to soft reflective moments, each self-portrait conveys an independent sense of travel or transcendence: movement that emphasizes the importance of dreaming in relation to personal exploration and documentation. Conceptually, it’s that simple– but technically, it’s a little more challenging. Her exquisite use of color, light, setting, and digital manipulation curiously compels us to enter these departures with great anticipation.
Zander Olsen wraps white fabric around trees to “intervene” with the organic lines of a landscape, often blurring our sense of foreground and background to generate a jarring sense of flatness. Olsen suggests such compositions convey a new “visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.” As a result, the lush wonders of Wales, Surrey, and Hampshire are transformed into beautiful abstract images, with pops of white.
Kristian Burford’s art installations meditate on the postmortem state of sexual arousal without a partner present. Nestled in a messy realistic setting, each carefully constructed wax figure seems to sigh inward, recollecting him or herself after an erotic whim has been satiated. However, the intention does not stop there: it seethes and penetrates with primal implications. Encountering each diorama, our own interior worlds are challenged and heightened as we find ourselves cast to confront not so much nudity, but even more so, our own erotic inclinations as possible voyeurs.
Project B unearths vintage photographs from the margins of society, presenting rare originals and printing large format limited editions to the public for sale. The artists are anonymous / unknown and this is exactly the curatorial allure. Whether you’re a collector, designer, or everyday art enthusiast, this project is not about capturing the honored. It’s about appreciating the medium’s forgotten past and exploring its throwaways. The personal and technical flaws are just as endearing as the mysterious people who elusively inhabit these cryptic realms.
From Instagram to the Flickr, clenched nail art shots are ubiquitous– ranging from classic solids to wild patterns; however, I’m pretty sure Alice Bartlett holds court as best in show. Moving beyond simple fashion trends, Bartlett artistically installs miniature scenes on the tips of her fingers: clad green flocking covers each nail, creating a tranquil resting place for tiny figures to contemplate the massive scope and delicacy of the world.
Incorporating a vintage vibrant palette of collectibles, wood, paint, and hardware, Mac Premo, who is also an Emmy Award-winning animator, imaginatively concocts assemblage pieces that feel like personal homages or inventions.
Premo suggests, mash-ups evoke a certain surreal and instinctive attraction where– “Only through engaging in the almost absurd cycle of macro systems do you find things worth living for, like your wife, baseball, or a handsome piece of wood.”
“I started as a furniture-maker, but eventually felt limited by conventional notions about what furniture was supposed to look like and how it should be built. I now approach my work fundamentally as sculpture, but likewise have resisted passing over the line into pure or nonfunctional form.” – Michael Coffey
According to Michael Coffey, design is not just about art. It’s also a form of “problem solving.” He sees commissions as creative collaboration– loving most when patrons desire something entirely new, more different than his previous work.
As far as process is concerned, Coffey begins with a small wooden model, then develops a design on paper with set dimensions. First cuts generally begin with the buzz of a chainsaw, followed by the use of smaller, more refined, cutters and discs. Part of the fun is figuring out which tools will service the work best. Click on the video after the jump to see more of his work and philosophy.