French Illustrator Julien Pacaud is delightfuly eccentric; her works look as if they’ve been dreamed up by children after feasting on their yearly spoils of Halloween candy. (What? Your parents didn’t tell you sugar would give you nightmares?) I would be lying if I told you I had any idea what this soccer-chicken picture means, but I still find it incredibly amusing.
Lisa Alonzo’s sugary technique obscures a dark symbolic core. The images are beautiful and the technique is divine. In fact, the technique is a refinement of one of the high points of Modern painting, Pointillism, and Alonzo adds another, almost hysterical layer to Seurat’s Le Grande Jatte, by combining the beauty of Pointillism’s ballet of color with the designer frosting florets of a confectioner. According to the press release from Claire Oliver Gallery, that excess of beauty, when compared with the otherwise violent or mundane subjects, a hand grenade, a gun, a beer can, is a critique aimed at consumer desire. As a painter who has often struggled with acrylic painting, I was really impressed by the freshness of these paintings. You can see Lisa Alonzo’s new work at Claire Oliver until April 26th. Photos courtesy of Claire Oliver Gallery.
Colombian-born, Miami-based artist Federico Uribe creates illustrations and sculptures using conceptual pop art language and everyday objects. Uribe integrates these objects into his canvases, combining illustration with sculptural elements, but also builds entire worlds out of a hodgepodge of items like colored pencils, shoes, wires, and bicycle tires. He has no limits on what he’ll use in his work, and is often inspired by the very object itself. Uribe says playing with the objects reminds him of being young and interpreting cloud formations. He claims that there is a literary element involved in every piece he constructs, and he views each recycled object as a word that can change meaning within varying contexts. Of people who believe that since his work involves repurposing used items that it is ecologically sentimental, he asserts that what he does is not about making statements but transmitting feelings to people.
With an object he uses in many of his pieces – the pencil – Uribe crafts intricate and technically skilled sculpture illustrations. Using the lines of many colored pencils, Uribe is able to create the illusion of movement and fluidity, shaping faces and curves out of a straight and pointy medium. The photographs included in this post do not give Uribe’s talent true justice. I urge you to watch this short video about Uribe and his work, where his amazing amount of skilled and detailed attention is beautifully demonstrated. Uribe began as a painter who gravitated toward brooding sensuality influenced by personal feelings about the pain, guilt, and sexuality experienced in Catholicism. This emotional viscerality is maintained throughout his current work, which evokes a playfulness that is charged with intentional feeling. (via cross connect)
when captured from the side, you can see how the individual layers of paint appear out of the white surface.
Swiss photographer Fabian Oefner’s latest “Orchid” series of paint actions depicts the ephemeral nature of gravity and fluid paint, frozen in time. In each image Oefner captures a fleeting moment with his camera which appear to look like sculptural floral blooms when in fact they are explosions of paint set into motion by gravity.
In his unique process Oefner filled a tank with several layers of different colors of liquid paint with the top layer being either black or white. Then, a sphere was thrown into the paint. As the falling object splashed into the tank, the paint was forced upwards, shaping the individual layers of paint into a blossom-like structure.
“Orchid” is about preserving ephemeral beauty. Photographed with high speed devices, these images capture structures of sublime elegance, which appear only for a fraction of a second before disappearing beneath the surface again. (via designboom)
In the wake of the murder of unarmed teenager Michael Brown in Ferguson, Missouri by a policeman, and the subsequent protests of police brutality, tensions have been high among many communities. On Saturday August 16 in Philadelphia, artist activists draped yellow CAUTION ribbon around the iconic LOVE statue in Love Park and actor Keith Wallace positioned himself face-down in front of the statue, wearing a white t-shirt that appeared to be stained with blood, as if he were shot from behind. Standing near him, two people alternated the holding of a sign that read “Call Us By Our Names.” For an hour, Wallace lay in front of the emblematic, tourist-attracting statue – all the while, tourists continued to pose in front of the statue, usually while framing Wallace out of the photo, or blocking the view of his body in some way.
For Wallace, an idea like this had been brewing for quite some time. “I just tried to think about a way I could use my spirit of activism coupled with my artistic passion to make a statement about what’s going on. So I just decided that for me, I’m a very image-driven artist. I think images speak louder than words can, most times. And so there’s some value in forcing a society to look at the most ugly parts of itself and just putting it out there for them to examine and discussed, and to be disgusted by, in the hopes of provoking some sort of dialogue or provoking some social change in an effort to eradicate some social ill, whatever that is.”
The phrase “Call Us By Our Names” was born from the knowledge that though we know the names of victims like Michael Brown and Trayvon Martin, there are countless other victims of police brutality whose faces go unrecognized and unnamed. “I was tired,” Wallace says. “No, we’re NOT thugs, we’re not this, we’re not that. We’re unarmed citizens, so call us who we are. Call us by our names. Say ‘Michael Brown’ instead of ‘unarmed robbery suspect.’ When you give a face and a name to a victim, the public becomes socially responsible in a different way.”
According to Lee Edward Colston, a theater student who was helping with the protest, visitors to the statue expressed a variety of feelings and opinions. “There was an older white couple that wanted to take a picture in front of the LOVE statue,” recounts Colston. “The older white gentleman said, ‘Why do they have to shove their politics down our throats?’ The woman replied, ‘They’re black kids, honey. They don’t have anything better to do.'” In another account, Colston says, “There was one group of white guys who wanted to take a picture in front of the statue, but one of the guys in the group couldn’t take his eyes off of Keith’s body. His friends were trying to convince him to get in the picture. He told his friends, ‘Something about this doesn’t feel right, guys. I don’t think we should.’ One of his friends replied, ‘Dude, come on … he’s already dead.’ Then they all laughed.” Additionally, “There was a guy who yelled at us… ‘We need more dead like them. Yay for the white man!’
Colston did relate two more positive reactions to the performance. Recounting one, he says, “One young guy just cried and then gave me a hug and said ‘thank you. It’s nice to know SOMEBODY sees me.’” And in another, “There was a Latina woman with two young boys. She held her boys’ hands and said to them, ‘I want you to see this. This is important. Never be afraid to tell the truth.'”
Accompanying the silent protest, a sheet of paper was handed out that included information about rights and responsibilities, and a statement that partially reads, “I am racially charged not because I want to be, but because I have to be. I am racially charged because in certain instances, that hyper awareness may ensure that I make it home to my family at the end of the day. I am racially charged because I am not afforded the luxury to wander through life with my head in the (nonexistent) ‘post-racial America’ clouds. I see color because my color is seen, dismissed, devalued, and implicated as a threat everywhere I go. I am racially charged and if I make you uncomfortable by speaking out about it and calling attention to it, then I implore you to eradicate the ugliness I see every day in the world.” (via ra’s al ghul is dead, thinkprogress, philadelphia magazine)
A wall patterned with vibrant colorful real insects. Jennifer Angus is arranging the species she appreciates the most on a hot-pink background. The opening of the Renwick Gallery across from the White House in Washington DC has welcomed artists to use different kind of mediums to surprise their future viewers.
The series of in situ installations is called ‘Wonder’. From room to room the curator wants the viewer to be amazed. The different styles ornating the gallery are brought together in a way that the viewer can’t recognize what he is admiring until he comes closer and immerses himself into the decor.
Jennifer Angus’s room revolves around patterns. From far, the general aspect imitates a wall paper. The artist, a former textile designer, knows how to play with the motifs. She is inspired by patterns ‘to which repetition is inherent’. 5000 insects, weevils and small beetles were handpicked and displayed by the artist mainly in the shape of skulls. This symbol of mortality combined with the insects meet her purpose, which is to highlight the fragile features of human kind. Her installation is called ‘In the Midnight Garden’. A reference to the glow created by the iridescent blues, greens and lilac tones.
The disclaimer on the artist website indicates the insects were all collected from Southeast Asia, particularly Thailand and Malaysia. She does not alter their original colors and she is reusing each one of them for each exhibition, carefully putting them away in boxes.