Heike Weber‘s installations transform a space in a surprisingly simple (albeit painstaking) medium. Her installations are actually drawn directly on the floor, walls, and ceiling of these locations. The surface is first primed in acrylic paint and patiently drawn over in permanent marker.The drawings are highly detailed abstract line-forms. Each endless series of waves nearly seem to undulate around the room. At other times, the installations resemble an enormous and fantastic topographical map projected directly onto the space.
Christo Dagorov’s drawings are beautifully crafted with detail and precision. With a bird’s-eye view landscape that mimics cracked lips, a forest that’s tree trunks create the illusion of small teeth, and perfectly shaped bodies as pursed lip crevasses, his illustrations truly come alive. The work is hauntingly graceful, yet captivating and complex. Each piece is paired with a precise, one word title, allowing every drawing to become of moment of inquiry.
For example, his drawing titled Aspiration depicts a city. Here we may see a desire for or missed connection to the urban world. Or, perhaps, he is he glorifying the amount of ambition it takes for a city to be built — a sort of homage to the achievements of man.
Next there is Authenticity, illustrating trees with exposed roots. Is this simply a statement that nature is utterly and unarguably the most authentic entity?
Indiscretion shows a figure behind bars, hinting, perchance, at the recklessness of lawlessness. Or, even further, the general rashness of humanity.
The drawing Negligence portrays snakes and jellyfish — animals that can poison. Maybe this drawing acts as a warning for those who neglect either themselves, the purity of nature, or their own relationships with others.
However, Dagorov’s use of lips provoke greater meaning than just that of his titles. Lips have various powers. They have both the power to speak and to seduce. We can use our lips for acts of good, acts of lust, as well as acts of harm. Paired with these sinful versus virtuous words — are the lips creating a platform for which both darkness and light can be portrayed on equal playing ground?
Or, perhaps these lips suggest a discussion of language. Are they used as a means to hint at the the subjective nature of semantics? If language is something that simply comes from ones lips, what does it truly mean? If history proves anything, it is that language is single handedly one of the most dangerous devices of them all.
Christo Dagorov’s work is aesthetically complicated with perplexing purpose. Every drawing demands attention and reflection. For more of his work you can find him here. (via Faith is Torment)
Russian native, Vania Zouravliov‘s whimsical and highly detailed illustrations are exquisitely gothic and layered with symbolism. Given the high quality of both craftsmanship and detail, as well as the rigorous layers surrounding the morbid characters in the illustration, I think the more often the viewer looks at the work, we’re able to discover a different aspect in the piece. In itself the process of uncovering the many hidden symbolic details brings out an even richer experience while looking at the work.
Artist Jesse Treece specializes in collage. Using vintage imagery, he creates surreal scenes and portraits. His collages nearly feel like lost scenes of 1970’s science-fiction and horror films. The collages often juxtapose science with nature, inside with outside, and large with small. Treece makes effective use of familiar imagery and styles to create entirely new artwork. The immersive pieces tell fantastic stories, as well as the mundane ones of life through a flood of images.
The sculptures of Sayaka Kajita Ganz are gorgeous. Made out of plastic utensils to hangers, these sculptures are done in such a way that they capture the movement of the animals in action. My favorite piece would have to be the sculptures with the running horses, “Emergence”. Her work is so dynamic and depicts such an agility out of something as unconventional as kitchen utensils. Sayaka was born in Japan and currently lives and works in Indiana.
In his project “Scrublands”, French photographer Antoine Bruy pulls down the curtain on the mysterious back-to-the-land movement and its members. His series documents the lives of several communities who isolated themselves from the civilized world and have been living in the wilderness for more than 20 years now.
In 2010, Bruy embarked on a hitchhiking journey across Europe. With no specific destination in mind he wandered from one place to another hoping to find those secluded communities of people who abandoned their modern lifestyle, freed themselves from social constraints and chose to live in the wilderness. He would spend days and weeks together with them, helping in everyday chores and taking photographs of their daily routines.
Photographer notices that despite different locations and professional backgrounds (from philosophy teachers to engineers), these communities and their members are all linked to each other through handmade buildings and agriculture-based living. Bruy has plans to continue his project next year by exploring the United States. (via featureshoot)