The works São Paulo-based Odires Mlászho hinge on transformations, often employing books, found images, tape, paste and collage. The Brazilian artist’s name is even a work of transmutation. Born José Odires Micowski, Mlászho created his artist pseudonym by borrowing from and combining the names of his two great influences, Max Ernst and László Moholy-Nagy. In a description taken from an insightful studio visit with Goethe-Institut, the following is perhaps the best description of the artist’s working process. “In Odires Mlászho’s work, objects are photos, texts are images, books are sculptures: nothing occupies its original place in the world. With his work the artist proves that things are not such as defined in the way we tend to believe and that after destruction objects can be re-created and reused in a total different way. His work offers us the possibility of entering a world with a completely new kind of perception: it is our world, all the original elements are there, but this world is truly and deeply transformed.
For works which Mlászho debuted earlier this summer at ‘Inside/Outside’ at the Venice Art Biennale 2013, he weaved individual pages of books until they were connected and bound in an entirely new way. Created with fellow Brazilian artist, Hélio Fervenza, the book sculptures rely on an intricate twisting of possibilities which are visually engrossing and immediately approachable, a difficult feat considering the complex theories behind the work.
It’s time for our weekly exclusive artist feature in partnership with premiere website builder Made With Color. Each week we join forces to bring you some of the most exciting artists and designers working today who use Made With Color to build their clean and sleek websites. Made With Color is a website builder that helps artists create gorgeous mobile/tablet optimized websites in only a few minutes without having to touch a line of code.This week we are happy to share the work and website of Tanya Batura.
Los Angeles artist Tanya Batura is known for her delightfully grotesque busts that reference a wide array of subject matter such as BDSM, fashion, serial killers, human deformities and classical 15th Century sculpture. Working in ceramics, a medium that has both its detractors and supporters, Batura’s large-scale heads defy even their own materiality, transforming the often staid and predictable parameters of the medium toward a more cohesive and deliberately forceful sensibility.
Batura’s work is at once monumental and delicate, geometric and languorously sensual in their fluidity, starkly devoid of color yet strangely shadowed from within. Pushing both material and content, Batura’s agenda is clearly less about pleasing any perceived “viewer,” and much more about complete absorption into her own process.
An exclusive interview with Tanya Batura is available in Beautiful/Decay Issue:V available on the B/D SHOP.
Twitter user @TechnicallyRon has spent a fair amount of time creating clever and humorous graphics for his very active account. His recent experiments with taking the format from the Daily Mail (a tabloid-format UK gossip paper) and replacing the newspaper headlines with actual user comments might fall more into a category more darkly revealing than humorous.
While some of the comments veer towards inane internet message board chatter (example, “I don’t know which Kardashian this is.”), the results often head to darker opinions that are better left unsaid, hence their prevalence behind the safety of computer screens (such as the misogynistic comments about women over 50, below).
As this story is still developing, @TechnicallyRon has not made any opinions public about these works, or if the series will continue. (via thepoke).
*Edit. This idea did however lead to web and interactive designer Richard Westenra to create a tool which anyone can use to easily add these comments to headlines (the results of which can be seen at the bottom of the post).
Surreal and bizarre collages with a folksy hand made feel by Dennis Busch.
Using both printmaking and embroidery in his work, artist Max Colby explores themes of death and transformation in his series Role Play. He first prints on handmade paper, creating a collograph. This type of printmaking applies materials to a rigid board. Things with a lot of texture like sandpaper, leaves, cardboard are inked and printed. Colby has controlled the shape of the print, manipulating it in a very deliberate way. Once printing is done, he then adorns it with hand-sewn embroidery.
In a short statement about his work, Colby refers to his the imagery in his work as “figures,” which I take to mean as beings. Not necessarily human, but some other living force. Their “body” is made out from printing, while the embroidery acts as embellishment for the figure. Colby writes that Role Play features “sculptural ‘skins’ which showcase fragility and temporality in conjunction with highly embellished and extravagant applications using notions of death and transformation as a catalyst.” I imagine that these could be armor or headdresses, with pieces that have spikes sewn-in or tactile objects like beads and buttons.
There is a stark difference between the delicate collograph printing and the visually-heavy embroidery. At times, it engulfs the figures, which I think is the point. Garments last a lot longer than we do. Items are passed down from generation to generation, and evidence of what a jacket looked like will be surpass our lifetime.
Photographer Kacper Kowalski captures life from above in these beautiful images of the Polish woodlands. The bird’s eye view features incredible, vibrant shots that are simultaneously recognizable and abstract. Brilliant greens, blues, pinks, and purples dot the landscape and play with our sense of scale. Trees look minuscule in many of the compositions, like they’re pipe cleaners or tiny army.
There’s a divide in many of Kowalski’s photos whether it by a river, a road, or line of trees. This separated area creates a pause or compositional breath. We’re often overwhelmed by texture or patterns. The photographer’s decision to include these areas allows time for reflection and comparison. How are the two spaces different? How are they same? What does it mean for them to coexist? (via a_a)