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Illustrator Liza Corbett lives and works in New York, previously having studied at Syracuse University and the Studio Arts Center International in Florence, Italy. Her dark fantasies and fairy tales populated by angular ladies, weed-people, and animal bones have appeared in exhibitions both here and abroad, as well as on the pages of Atlantic Monthly, Bitch Magazine, and – best of all, amirite? – now Beautiful/Decay. Check out her creations after the jump. Oh, and maybe try to find all the severed limbs. It’s like a Where’s Waldo of scissor-cut hands, really.
Corso Zundert, the famous flower parade, takes place every September in Zundert, a small town on the Belgian border. Known as the world’s largest flower parade, participating districts work arduously to out-do the other competitors in creating the most wild and unique float possible. There is no set theme for the parade, but competitors must adhere to two parameters: their floats must be made entirely of dahlia flowers and be smaller than 20 by 10 meters. Included here are photographs of floats from this year and past years as well. With the huge crowds surrounding the floats you can really see just how immense and outrageous these structures really are.
Starting in 1936, Corso Zundert is an ongoing tradition within the Netherlands. Using an unimaginable number of dahlias, people painstakingly construct and adorn these gigantic floats. The twenty floats, once completed, make their way through the city, everyone hoping to win first place. For the 2014 parade the prize went to a horse-themed float called Horsepower. What would your float look like?
When you first witness Francesca Dimattio’s work you forget post-modernism and pummel head long into post-apocalyptic armageddon. Strongly resembling totems ingrained with furniture design, their melting quality give off surreal messages but ultimately speak to something totally present. There’s a mystical side to their nature akin to religious artifacts. A link to the distant past where certain angles become figurative channeling idols you might come across on a hike through an enchanted forest. Their formal aesthetic fuses pieces of ceramic together and creates organic patterns that zig zag through collage-like patches of cracked elegance. The tiny shards of porcelain build a narrative out of tea cups and plates a metaphor to the memories of one life lived.
The unusual technique Dimattio uses eventually manifests into porcelain-laden structures which ultimately resemble chairs and chandeliers. These account for the title “Domestic Sculpture” her latest exhibition at Salon 94 in NYC. Dimattio’s history in painting comes across when viewing these magnificent pieces in person. Up close the work has a thick impastoed paint quality which make them come alive in another sense. Whereas her paintings referenced architecture and collage, her sculptures embrace all of the above including ceramic traditions.
Erno-Erik Raitanen‘s site specific installation, Cotton Candy Works, is built to crumble. For the installation Raitanen builds a wall of cotton candy. Visitors lick or pull off the cotton candy. Within hours the entire installation returns back to its original nature – the fluffy sugar reverts back to its crystalline form. The installation is definitely playful and looks like for gallery visitors. Its more serious ideas of creation and destruction can’t be ignored.
A screenshot, or screen capture, is a tool that’s existed on computers for a very long time, and it’s an easily accessible modern-day archival method. In just a split second, we can take a snapshot of our desktop or movie screen and save it later use. For Japanese artist Toru Izumida, this simple process is used to create collage-esque artwork.
“I use selections of online media to create unexpected combinations that are finalized into a single screenshot,” says Izumida. “The exact date and signature of the creation is recorded on every work.” We see multiple screens open and contain pictures of textures, people, landscapes, and more. Izumida arranges them, varying the window size before capturing the final product on his Mac. The fractured layouts are then turned into prints, and elevates the ubiquitous tool into the realm of fine art. (Via Spoon and Tamago)
Beth Cavener Stichter uses animals in her sculptures as metaphors for the irrational world humans have trouble tapping into. As sculptures of animals, we’re encouraged to feel more directly what we see the animals going through, more so than we would with a human being whom we would try to supply with a narrative context. This is part of the problem Beth is trying to deal with,to get us to embrace the unconscious and irrational parts of our existence instead of repressing them in order to assert our Humanity. The artist explains:
“There are primitive animal instincts lurking in our own depths, waiting for the chance to slide past a conscious moment. The sculptures I create focus on human psychology, stripped of context and rationalization, and articulated through animal and human forms. On the surface, these figures are simply feral and domestic individuals suspended in a moment of tension. Beneath the surface they embody the impacts of aggression, territorial desires, isolation, and pack mentality. ”