A bright idea is bringing together the talented homeless population of Barcelona and typography lovers from all over the world. Homeless Fonts is an initiative from Arrels Foundation and is a platform for selling the handwriting of these street sleepers to business and individuals. Around 10 fonts are available and all profits made from the sales go towards supporting the 1400 people connected with the foundation.
We all know how much handwriting reveals about a personality; the history of the writer, and this project highlights the talent and the stories of these fascinating individuals. Often overlooked on the street, they all have reasons for living how they do, and share a side of life we usually know nothing of.
Fransisco for example, in a previous life was a graphic designer. Born in Spain, raised in Brazil, he set off to experience the world. After hitchhiking around South America, he returned to Spain an old man. Living years without a permanent address, his days are still full of adventure. He says:
“The experience of the street has taken away my vanity. The only thing I’ve learnt in life is that you have to learn, because if you spend your life without learning, you haven’t lived.”
Argentinian born Guillermo uses cardboard, newspaper, anything lying around to practice his love for art and writing. Born in London, Lorraine found herself stuck in Spain after a thief illegally used her passport to travel on. Ever the optimist, she now enjoys sleeping under the stars with new friends in her adopted home.
The kinks and loops of these fonts are such an immediate and rich art work, they are perfect for making statements with. They are certainly a powerful form of communication.
Some incredibly and bizarrely detailed photography by Tommy Reynolds. These photographs are able to get across reynolds’ concept, but are still seemingly candid. Personally I enjoy how these photos highlight the beauty behind a mess.
Trapped behind glass cases, the miniature human subjects of Lisa Swerllng’s Glass Cathedrals unabashedly perform daily rituals normally veiled from the outside world. The stunning pieces afford viewers with a whimsical type of voyeuristic indulgence. Like children before a set of dolls, we are invited to examine the many mundane moments that compose adult life, breathing life and meaning into each dollhouse-like setup with our own imaginations.
With its feet firmly planted in childlike curiosity, the series is unafraid to veer into tragic emotional spaces; caught staring into endless amounts of white space, many of the figures appear lonesome and fully aware of their smallness. A woman scrubs at a dizzyingly vast array of tired floors and walls, incapable of completing her work for her own tininess and permanently fixed position. Similarly, a man stares at his cow, a sole companion who does not return his gaze.
Though humorously seen, Swerling’s models are at times bitterly unaware. A group of people stand before a glass case containing the figure of a generic ghost labeled “god” with a sign stating, “In case of emergency break glass,” not noticing that they themselves are encased in glass, searching for meaning in the touchingly absurd. The viewer, in turn, is forced to face his or her burning existential yearnings within this magically adult dollhouse.
The idea of domesticity as it relates to femininity shines through in Swerling’s work in unexpected ways. A piece titled “A woman’s work is never done” features a woman sweeping pink glitter, erasing the suggestion of the usual portrayal of the home as unfulfilling; here and in a piece that features a woman serving dinner at the head of the table, glitter serves as a surprising and ecstatic symbol of female self-actualization. From the woman who examines herself before a mirror to an unwaxed redhead standing nude before circle of nuns, Swarling’s women embrace their activities unabashedly.
Hitting poignant notes that remind us of the power that lies beneath human smallness, isolation, connection, and actively defined identities, Glass Cathedrals serves as an alter at which we may worship our own condition. (via Foodie Bugle, Catto Gallery, and Lost At E Minor)
As a founding member of Italian design group Memphis, Milan-based artist and designer Nathalie Du Pasquier has designed a plethora of poppy, bright, and playful textiles, pieces of furniture, and design objects. Since the group’s disbanding in 1987, Nathalie has become more of a traditional artist, creating paintings and sculptures clearly steeped in the distinctive Memphis aesthetic.
Yesterday we lost one of the best and most important living painters, Lucian Freud. Leading contemporary figure painting for his generation, Freud was known best for his thickly impasted portrait and figure paintings which have been shown and collected in every major museum around the world. His works are noted for their psychological penetration, and for their often discomfiting examination of the relationship between artist and model.
Hope you’re hanging out with Andy, Pablo, Jean Michel in art heaven Lucian. You will be missed!