Tate Ellington, known primarily as an actor, is also a self-taught painter, with an exhibition history that expands from NYC to Los Angeles. Working from doodles, conjured from found magazines, photographs, medical reference books, and/or an automatic sense of line, using mostly oils as his medium, Ellington inevitably focuses in on facial nuances, stating, “It’s what I identify with the most, so naturally, they come more.”
Each portrait carries a sharp bend of drama, as though the artist is implicated or interrupting more so than puppeteering the performance. Likewise, this is what strong acting does. In this way, Ellington seems to connect his two artistic loves, asserting, “In acting you are supposed to look for the truth of a character or of a situation. You can also be called to exaggerate the truth, if necessary. I think this is what I try to do with my paintings. I try to find the person by exaggerating him or her.” Each stroke is not just about the surface, but a discovery, or search for our own sense of play or performance as human beings.
Artist Kim Rugg’s incredibly meticulous artwork consists of slicing up and breaking down everyday sources of information, like newspapers and maps. Dissecting newspapers, she rearranges the words and letters, creating a new depth of meaning. She often cuts the letters out and places them in alphabetical order, throwing the message in disarray. If these newspapers were real, they may cause panic and mayhem, as they disrupt our normal access to worldwide information. Can you imagine if even online news from all countries suddenly appeared as Rugg’s newspapers do? Both her surgically cut newspapers and transformed maps deconstruct society norms of information and the restrictions our culture has placed upon them, and therefore us as well.
This London-based artists slices up maps and pieces them together again backwards, or purposely arranging the once solid land mass in a way that fuses together all elements of land, border, and ocean. She also creates her maps by hand, erasing borderlines and geopolitical issues that are so relevant in today’s society. Her recreations of man-made territories display a new topography; a world with no boundaries, where we all can live with no territorial restrictions. Each carefully incision made forms a part of the whole, redirecting your view to its small details. Rugg’s complex work invited you to investigate the information laid out right in front of you that is often overlooked. Other work of her that require our close inspection to really understand her subtle manipulations include magazines, comic books, and even cereal boxes. Her work can be found at Mark Moore Gallery in Culver City, CA.
Artist James Nizam calls photographs documents of ‘light sculptures’. For the series he captures the sun and manipulates it into various ‘structures’. Using precise cuts into the exterior of the house, small mirrors mounted on ball joints, and studying the movement of the summer sun Nazam was able to capture these images. A synthetic fog emphasizes the concentrated beams of light, making them almost palpable like floating fluorescent light bulbs. See photos of Nizam preparing the house after the jump.
El Famoso is the moniker for collaborative duo (and brothers) Rich and Chris Fairhead. Their humorous and playful illustrations have a clunky and quick feel to them that’s always a nice treat. Your probably wondering what influences them. Here is a list in no particular order “warriors, monsters, gods, witchcraft, animals,hand painted signs, mr kipling, toys, party food (nibbles), Jonny Cash, Russian Criminal tattoos, tribes, comics, heroes, screen prints, killer robots,
bad films, graffiti, posters, black & white, fantasy, folk and some other bits and bobs. “
Multimedia artist Gavin Worth uses steel wire and rods to sculpt beautifully minimal forms and figures that look like they were sketched in the air. 3D representations of 2D conceptual drawings, each of Worth’s sculptures portray human forms and silhouettes, with careful attention paid to the details of these “illustrations.” His large scale portraits of faces that depict thirsty visages are perhaps his most detailed and deliberate constructions. For these, Worth sought to convey an emotional anxiety through the sculpted faces. Of his work, Worth writes,
By bending black wire into something of freestanding line drawings, I create sculptures that engage the viewer by involving them in their subtle changes. When the light in the room shifts, so does the mood of the piece. A breeze might softly move an arm. My wire sculptures tell stories of simple human moments: a woman adjusting her hair, a face gazing from behind tightly wrapped arms, a mother gently cradling her baby. The honest, unguarded moments are the ones that I find to be the most beautiful.
Jeremiah Maddock is a hard guy to pin down. Many have spoken of him as some sort of ghost- a shadowy figure that passes through bars and cafes with a suitcase full of muted drawings, and an unknown past. This legend surrounding the artist, who lives -most of the time- in New York City, creating richly patterned mixed media works populated with ghoulish creatures and tramps, is likely a product of his obvious lack of desire for external validation. It’s clear that Maddock, who has no personal website, maintains a very pure process; he is interested more in the act of creating -and the motivations behind such an act- than any finished product.
I caught up with Jeremiah in-between his extensive travels throughout the interior of the country. Read the interview after the jump, which includes the artist’s thoughts on steez-biting Mayans, art fairs with Josh Keyes in high school, and collaborating with the dead.
My room as a teenager was a sanctuary-my only safe place. My room was me, more specifically though, it was what I wanted to be at the moment. I wanted to be as bold, tough and flawless as my favorite musicians on the magazine cutouts on my wall. Truth is, I wasn’t any of those things. In fact, I was timid and self-conscious, an anxious girl who found it hard to make it through some days as I struggled with an anxiety disorder.
Every girl battles with herself and the burden of the transitions that come along with the teenage years; whether good or bad, her room is just an imprint of what she is going through.
Photographer Rania Matar’s recent collection of photographs, A Girl in her Room, explores the teenage girl in her habitat (her room), to further understand the origin of a teenager’s way of being. Matar wanted to capture the universality of teenage behavior by photographing girls in the U.S and the Middle East- both cultures she is very familiar with.
I became fascinated with the similar issues girls at that age face, regardless of culture, religion and background, as they learn to deal with all the pressures that arise as they become conscious and aware of the surrounding world wherever this may be.