Zander Olsen wraps white fabric around trees to “intervene” with the organic lines of a landscape, often blurring our sense of foreground and background to generate a jarring sense of flatness. Olsen suggests such compositions convey a new “visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.” As a result, the lush wonders of Wales, Surrey, and Hampshire are transformed into beautiful abstract images, with pops of white.
Most of Bobby Neel Adams‘s whole shpiel is taking two seperate images and composing them as if they were one. Old and young, man and woman, comparing and contrasting two different relationships and how they work together.
From Carnival in Haiti to West African Masquerade, Phyllis Galembo has seen it all. Humanity has always had such a fascination with dressing up–with becoming someone else for even a short period of time–that these costumes and the rituals associated with them play an important role in these societies’ cultural textures. Galembo photographs these moments in which people become magical, steeped in the symbolism of their dress. So, what does it say about us if our definition of costume is a sexed up, polyester sailer/nurse/bunny?
Chen-Dao Lee paints highly stylized pop images that are a kind of Taiwanese version of a Quentin Tarantino neo-noir film. Painted in candyfloss pinks, reds and blues, his work borders on anime, or a kind of twisted superhero comic. His subjects are powerful women (and peculiar men) who have a cynicism, sexuality and also a sickly sweetness about them. Posed together, armed with guns and wearing frilly socks and high heels, or engaged in a semi-erotic masked wrestling fight, Lee’s characters are contemporary individuals, expressing the whole spectrum of emotions.
In his recent series, Lee has shifted from depicting a logical scenario in his paintings to focusing on the figures entanglement to describe emotions or relationships which are ambiguous, embarrassing or even helpless. Beautiful young women and fallen heroes frequently appear in Lee’s works as a symbol of the projection of modern people’s inner contradictions. (Source)
With titles like Cat fight – Love Kick, Boss, Not The Hero Type, Valentine, BFF, Lee embraces a kind of feminism with a dark sense of humor. He paints scenarios loaded with sexual innuendo, but instead of them being erotic, or about power plays, he focuses on ennui. The women (and men) show a lack of enthusiasm and engagement, but rather a nonchalance about what ever is going on around them.
His past series have included paintings of women guiltily carrying loads of fast food, indulgent night life scenes with money being tossed around, strange card nights, groups of men eating sushi off a blow-up doll, and overweight men with bad tan lines wearing cute costume masks. Lee is able to blend sarcasm, skepticism and empathy to create instant modern day classics. (Via Illusion Scene)
In his new show “My God” Qiu Minye presents us with a new way of seeing. Well, he at least offers us a new way of experiencing objects and the recording of those 3-dimensional things with photography. By painting with light, Minye has suggested different forms of objects that could be real, and then photographed them, resulting in haunting, iridescent, airy images. Whether it is an outline of several figures huddled together watching something in the distance, or an ambiguous geological shape, mythological creatures or floating forms of babies, these snapshots all belong to another space and time.
Minye’s playful images all have a gracefulness to them, and more than most photographs seem to have successfully frozen a moment in time. By removing any fussy details (whether it is light, shadow or color) that may anchor an object in the mundane, he has elevated the idea of the object/subject to something majestic and mystical. The fish for example seems to spitting sparks of fire and is caught in an ethereal state – in a way we don’t see our everyday fish. Minye has managed to capture some sort of life force or see-able movable energy and it is a very calming thing to witness. He has a very existential approach to his art. He poses numerous questions when speaking about his past photographic projects:
What part of humanity is lost in time? How can we transform these moments into eternity? There are always two worlds, the world of yesteryear that has collapsed and the real world. Here, it is to travel between the two. (Source)
Minye seems to be coercing a particular response out of his audience – suggesting we look at the things surrounding us in an abstract, philosophical way – where it’s more about the idea of the thing rather than the tangibility of it. (Via Designboom)
Artists Walter Hugo & Zoniel have created a surreal installation featuring a large-scale glowing jellyfish tank as part of the Liverpool Biennal. Located in the Toxteth district, the piece is installed in the facade of an abandoned garage. Closed during the day, it opens its shutters every evening at 10 pm and is live-streamed to the Gazelli Art House in London.
Unusual project, titled “The Physical Possibility of Inspiring Imagination in the Mind of Somebody Living”, is based on the juxtaposition between the harshness of an old derelict building and the dreamlike flow of these fragile underwater creatures. It aims to inspire local communities by showing that inspiration can happen anywhere at any time.
“We placed the work there so that it could be enjoyed outside of a gallery environment while people are just walking down the street, going to the shop or home. The response that we’ve had from people so far has been overwhelmingly positive. We’ve seen reactions ranging from excitement to disbelief to nonchalance.”
The psychedelic display was opened almost secretly from the public. Artists chose not to promote their project through press and marketing, rather focus on the residents of the area and rely on natural word-of-mouth. What’s more interesting is the link created between Liverpool and London by streaming live footage to the virtual screen at the Gazelli Art House.
Space age abstraction – the power of design tools. Bechira Sorin’s recent digital work, especially the one above, retain a Neo-Dali aesthetic. I love how seamlessly everything ties together, and how fluid his composition is. That said, the futuristic surrealism does not speak for all his work, check out his other illustrations and experiments with typography after the jump.
NADA (New Art Dealers Alliance), founded in 2002, is a not-for-profit art fair that showcases international galleries in New York, Miami Beach, and Cologne. NADA’s exhibitors are a breath of fresh air; the young vibe, the weirdness, and progressiveness of this exposition is hard to dismiss.
Here, I gather the most interesting works at the expo:
Estonian artist Kris Lemsalu sculpts and stages grotesque figures. In this particular set, it seems, are two very strange looking dogs(?), wrapped around sleeping bags. I’m not sure what is artist is going for here, but it seems to me that he is trying to set a scene, and a specific one at that. Both ‘dogs’ are covering their eyes, they are wrapped tightly, and they hovering amongst themselves; might it be that these are scared ‘dogs’ at an estranged camp of sorts?
Jonathan Torres, a Puerto Rican artist, creates half-animal, half-human sculptures, that are brightly colored and full of feathers. They are on the floor, nor are the hanging from the upright walls, instead they appear in odd places, throughout the tiny booth of the http://crenaz.byethost22.com/.