Australian artist Buff Diss brings an interesting medium to the spray paint dominated world of street art: tape. Intricately cut and stuck, Buff Diss’ often large scale pieces can be astoundingly complex. Some of his work intentionally interacts, even plays with the surrounding environment. At other times his work seems to reference classical sculpture and painting. However, he consistently works in this peculiar medium. Regarding the reasons for using tape in his process he says:
“The functional or practical nature of tape is one of its best aspects as a medium; you don’t have to walk into a snooty, over-priced art store to find it. The linear quality of tape also makes it a quick medium to work with. Only drawback is looking like you’ve got a stationery fetish when you open your bag.” [via]
Tarek Mawad and Friedrich van Schoor have teamed up to light up a forest, using real-time projections to create the effect of bioluminesce. With their digital wizardry, trees glow as though veined with lava and wild mushrooms dance with fairy lights.
The duo spent six weeks in the forest, mapping all the contours of their subjects to ensure the illusion would be complete. Ice blue stripes shimmer and disappear on a tree frog’s back and spiderwebs glint with threads of light. The result is subtle and magical, hinting at undiscovered mysteries just off the beaten path.
Simply named “Bioluminescent Forest,” the project was inspired by the natural bioluminescence found in marine life such as jellyfish and certain deep water creatures; seeing the aquatic lightshow transposed onto land adds yet another layer of intrigue and otherworldliness. (via This Is Colossal)
It seems that anytime someone finds a strange piece of art out in public the first thing they think is that Banksy was the culprit. This seemed to be the case when three strange and mystical wood carvings popped up in the woods of Knaresborough, North Yorkshire, UK. Carved into tree stumps these weren’t amateur carvings by stoned teenagers partying in the woods. With ornate details and precise craftsmanship any wood smith would be proud to call these their own. The Daily Mail caused an uproar stating that the pieces were carved by everyone’s favorite street art mystery man Banksy. However after some investigation by the BBC it was revealed that that the work was done by Tommy Craggs, who was commissioned by the person who owns the land that the sculptures were found on. Not sure why the Daily Mail didn’t start with checking who owned the land before going Bansky crazy but who’s got time to fact check when you could be selling some papers with phony headlines.
Taking images from auction catalogs, artist Kour Pour translates intricately-patterned carpets onto paneled surfaces. The multi-step process is labor intensive, not to mention large – his work is 8 feet tall. First, Pour scans in the image of a rug and burns it on a silk screen. Then, he uses a broom to begin his underpainting (the texture gives it an appearance of a textile). Afterwards, he silkscreens the design to the panel and begins the work of painting every painstaking detail. The final step is to use an electrical sander to erase the painted surface and expose the layers of the under-painting. What results is work that looks like an faded, well-worn rug.
Pour is both British and Persian, and when he was younger, his father owned a rug shop in England. His work is tied to this past, as he explains in his artist statement:
Carpets were a part of my childhood growing up in England. I remember my Father’s rug shop, and how he would hand-dye sections of carpets that had faded away, in order to bring them back to their original colours. I felt that in doing this, my Father was making an effort to maintain all their history and meaning, as if he was bringing the carpets back to life. When I first moved to Los Angeles I had feelings of displacement and much like the faded carpets, I too felt a part of my history disappear. I started the carpet painting series and noticed how art and objects could play an increasingly important role in our diverse society. Through making these paintings I am constantly learning more about my background and the rich mix of culture that surrounds me and the carpets.
By recreating carpets, Pour highlights their meaning as object, as well as the implications of their surface design. They signify an object of privilege (as their originals come from an auction catalog), and our commodity-based consumer culture. Beyond that, the patterns of animals and men on horses is representational of globalization, a culture’s history, and more. (Via Bmore Art and Flat Surface)
Beautiful/Decay has teamed up with MSTRKRFT & SPRFKR to present a creative giveaway. All you have to do is send us your COOLEST drawing of two dudes sporting mustaches and shades! You can draw MSTRKRFT if you want- or any other two guys sporting this incognito look. Three lucky winners will receive a MSTRKRFT prize package of a SPRFKR poster & MSTRKRFT’s latest cd, “Fist of God.” Winning submissions will also be featured on the Beautiful/Decay blog! So get creative- submissions can be digital, painted, crocheted, Bento boxes, whatever!
Ernesto Neto’s installations ache of a strange dreamy womb I’m sleepwalking towards, one that promises 100 years of hibernation, an extended respite that is sensually comforting and yet also terrifying claustrophobic. It’s a peculiar feeling– a mushy feeling, a propelling and repulsive feeling, or push and pull, that I can’t stop leaning into.
I am not my body, yet I am my body.
Unintentionally echoing motifs in David Cronenberg’s psychological horror films, Neto’s “beyond abstract minimalism” worlds seem to confront the dysfunctional relationship we have with our internal and external selves, and the weeping orifices that connect us to one another on a physical and emotional level. Each path is carved viscerally, interactively– ideally, playfully, but admittedly, horrifyingly in our own image, resembling internal organs and wads of flesh and goo. We are attracted to this, and this attraction is disturbing.
Of his work, and perhaps of this feeling I’m describing, in an interview with Bill Arning, Neto states, “Do you understand the word sacanagem? It’s a Portuguese word that does not translate well. It is beyond flirting. It’s after that, in that moment when both of your faces change into something else because the erotic charge is so high, when your bodies move towards each other. I wanted the work to manifest sacanagem without talking about it. It’s all subtextual. My work is first and foremost a contemporary sculpture; it speaks of the finite and the infinite, of the macroscopic and the microscopic, the internal and external, by the masculine and feminine powers, but sex is like a snake, it slithers through everything.”
Chris Sisarich’s photo series Somewhere In The Middle of Nowhere hits home here in Los Angeles, a city built in a desert. The series looks like it could have been anywhere around the world–saudi arabia, egypt, arizona, china, california– and speaks to our constant search for new places for sprawl development and the global warming it’s causing, to our persistance and the futileness of it all. Sisarich’s images, like the desert, are some of the driest, palest images i’ve seen in a while, and with humanity only peripherally represented, the might seem like predictions for our uncertain future. But they don’t feel pessimistic, just as if humanity was this interesting thing that out grew its planet and left behind some neat objects when it left. Whether or not you think the images are prophetic, optimistic, pessimistic, or anything else, they are at the lest very handsome images.