By stacking two otherwise banal objects and calling it art, Daniel Eatock‘s sculptures both make us laugh as well as re-view the objects around us as first and foremost formal objects and secondly as things we can use to, say, move a pile of dirt around. Try it! Look at all those little smooth squares your fingers are pushing. Look around you!
In his words ” […] I propose systems, templates, invitations and opportunities for collaboration, creating social networks where contributers shape the outcome and participate in the building of works. I embrace contradictions, and dilemmas. I like gray areas, oxymorons and the feeling of falling backwards. My favorite colour is the purple found in a soap bubble. I prefer to swap and exchange things rather than use money. I seek alignments, paradoxes, chance circumstance, loops, impossibilities and wit encountered in everyday life. I often change my mind, go full circle, and arrive at the beginning.” – Daniel Eatock
Photographer Polly Penrose’s series A Body of Work was produced over the course of seven years. Her intention was to take pictures of strong, powerful, and interesting nude portraits. So, how did she achieve that? By using herself as a model. Penrose explains in an email to Beautiful/Decay:
…I was always available, and then because I realised something interesting was happening. I could push myself further than I could other models, and by shooting myself the pictures became a visual autobiography. The pictures are very spontaneous within the space, I never plan them I just work with what’s there, it’s like a secret conversation between myself and the space, a bit of silent theatrics which I document. Looking back I can see that my state of mind at the time of shooting definitely feeds into the imagery, my choice of pose and the general mood of the picture.
Penrose sees A Body of Work as ongoing, and that this simply marks its first seven years. “…I want to keep taking them until I can no longer move to do it – it will be interesting to see my body age and how the poses and locations will change with it.” Her photographs showcase a long time, but still relatively short in terms of an entire life span. We see just some of the changes a body goes through in that time and are intrigued with what the next seven will bring.
Manifest Destiny! is a temporary rustic cabin occupying on of the last remaining unclaimed spaces in downtown San Francisco. Positioned above and between well established city buildings the tiny cabin can be seen affixed to the side of the Hotel des Arts, floating above the restaurant Le Central like an anomalous outgrowth of the contemporary streetscape.
Created by Jenny Chapman and Mark Reigelman, Manifest Destiny is a commentary/critique on the unwavering perseverance of San Francisco’s early settlers. During the mid 19th century, as the eastern United States became over-crowded and expensive, the West offered limitless possibilities for those willing and able to make the journey. The drive to seek new possibilities and establish a better life at any cost is the conceptual motivation for this project. See more photos of this piece and some installation shots after the jump.
This curious little structure is one of ten Free Little Library “branches”. Ten designer were chosen for the Free Little Library project – each designing and constructing a little library to place in Manhattan. This is the design created by the firm known as Stereotank. In the New York neighborhood of Nolita, the little library offers books and a bit of shelter to anyone passing by. Small portholes allow visitors to peek inside for a preview before being drawn inside. You can find Stereotank’s Free Little Library at St. Patrick’s Old Cathedral School in Nolita through September of this year. [via]
David Hornung makes paintings from both oil and gouache. He paints quiet simple, small houses located in fenced fields, bucolic scenes of nature, solitary women and men, memento mori, snakes and birds, paths and walls. Objects in his paintings seem to be a distillation of universal human experiences with the world and among each other. Some objects are singled out as being important by a kind of twin cloud, the direction of light, or glowing patches of color. The paintings are beautiful executions of color theory, which makes sense because David wrote the book on color theory “Color: A Workshop Approach.” His subject matter hovers between observation and the symbolic, and he refers to Philip Guston’s Alphabet series with plain respect, and like Guston, David was reluctant to talk about image-based thinking. We walked through Brooklyn on the way get some lunch, and David said that painting is hard to talk about because the ideas come out of working with images, that the process gives painters their ideas, which is a kind of reversal, because for most people who work with ideas – the ideas generate the process.
You can see David Hornung’s work at the John Davis Gallery in Hudson NY from May 23rd to June 16th.
The artwork of Andrew McAttee erupts from the canvas in an atomic explosion of vivid colors and bold lines. His compositions suck you in like a vortex of cosmic proportion. Like an explosion of atoms, asteroids, fire bolts, and lightning, McAttee’s dynamic, large-scale paintings catch your eye and demand your attention. Each painting is layered in acrylic paint and spray paint in incredible, bright colors. The artist mixes flat lines and shapes like that in a comic book, with a variety of more dimensional elements.
This repetitious explosion present in McAttee’s work hints at themes of cause and effect. Both beauty and destruction can be seen in the breathtaking palettes and the collisions of the color combinations. It is almost as if his painting are molecules ready to erupt. The artist’s comic-pop style combines the occasional action word such as “Smash!” straight across his compositions. He is very apparently influenced by comic books and graphic novels, and also pulls inspiration from pop art and abstract expressionism. Street art and graffiti also has a hand at play in his multifaceted paintings, as he is known as a street artist as “STET”. Andrew McAttee is represented by Stolen Space Gallery in London and works and lives in the UK.
”My aim is to provide the viewer with a colourful riot of gravity-less forms set in highly layered, seemingly endless space with a sense of ambiguity, humour and celebration”
– Andrew McAttee