Dutch artist Hinke Schreuders creates embroidered works that run the gamut from sinister to playful. Stitching directly on photographs and illustrations, Schreuders creates entirely new artworks by shifting the emphasis and adding pops of color or whole new objects and interactions. She transforms a dreary gray tree to a flowering one with little buds raining down like a curtain of beads. In other photographs, she applies her hand to texturing rivers with pale blue and adding spirals of threading forming fluffy white clouds.
Etienne de Crecy’s video for their single No Brain is a pixelated, psychedelic, electro trip through 80’s digi-visuals with just the right amount of crazy old man dancing at the end. Watch it after the jump.
While combining realism and expressionism, Mao Yanyang new works surprises the observer with very audacious paintings. Using daily broadcasted images he appeals to the spectator’s collective and individual memory shaped true years of media confrontation.
But there’s a very big difference between those known images and Mao Yanyang’s Works. The audacity of the artist’s ideas is expressed true the constant presence of several microphones in every single one of his paintings. This presence might seem kind of irrelevant and surreal, certainly when the artist is depicting war scenes, but they symbolize in fact the transformation of our world into an image consuming universe.
Los Angeles-based Tanya Anguiniga’s work belies her upbringing in Tijuana, Mexico with it’s use of textile and color. Her vibrant work often uses materials over existing furniture, forcing the onlooker to reconsider the beauty in these every day objects.
Welcome to the world of Todd Ryan White where zombie skulls, muscle lords, and freaked out wizards roam.
20 year old photographer Kelley Smith’s inanimate animals make me feel all warm and fuzzy.
Nothing if not disturbing, Alex Van Gelder’s Meat Portraits portray carcasses, flesh, entrails, organs and other animal parts from an abattoir in Benin. Found and photographed in the marketplace, or carefully staged into contorted compositions, Van Gelder’s photographs are corporeality at its most raw. Thoughtfully describing them as portraits rather than some kind of protest, or statement, Van Gelder is specific about his process. The photographs possess an abstraction that is compelling and unnerving. The artist says of his work, “African butchers don’t use electric saws as Europeans do but cut up the meat by hand which produces a variety of styles.The slaughterhouse was in the open air and in front of it a small market where they would sell the still warm meat. I worked there on and off for one year producing my Meat Portraits. I consider these portraits still lives.”
Appalling and even nauseating in their uncensored savage-ness, there is a strange beauty to the images when one steps back and pretends they’re something other than meat. Surprisingly not a vegetarian, Van Gelder’s images are less about animal rights and more about the emotionally evocative formal qualities the camera can capture.
I love the use of color in Tasha Kusama’s work. The Soft Sculptured Dolls piece remind me of some sort of urban resident aliens because of the bright converse combined with striped tube socks.