Roxy Radulescu lives and works in Los Angeles, CA. In addition to her many graphic design projects she is currently working on a series entitled Movies In Color in which she sheds light on the color composition found within single frames of famous films. Not only does deconstructing frames from a film like 2001: A Space Odyssey help to reveal a gorgeous color spectrum, it also highlights the masterful Cinematographer responsible for framing and shooting the picture. In her own words it is ” …a pursuit that showcases the relationship between color, cinematography, set design, and production design. Overall, it is a study of color in films, but has other uses and applications. One of the goals is to give artists color palettes they can use in paintings, films, videos, graphic design, and other pursuits. I search for stills that are compositionally interesting as well as rich in color. I use the help of a color generator to get a very basic range of swatches. Then I piece together the general palette from that and other colors I think are prominent or worth including from the still.”
Microbiologist Christina Agapakis and scent artist Sissel Tolaas‘ science-meets-art project “Self Made” seeks to challenge the way we think about microbes, scent, and the nature of disgust. Most cheese is made by taking milk and spoiling it with the bacteria, Lactobacillus. This bacteria transform milk sugars into acid, causing it to coagulate. The chunks are removed from the liquid and aged with specific yeast that creates specific cheeses. Lactobacillus and yeast can be found all around us, including our own skin. Agapakis and Tolaas take microbes from people’s skin – like Michael Pollan’s belly button or artist Olafur Eliasson’s tears – and add them to milk in order to create a human microbial cheese portrait (a cheese selfie?).
“The idea was to recognize, how do we get grossed out? Then to think about it and move beyond that initial idea of disgust,” Agapakis says. “Why are we more uncomfortable with bacteria on the body than we are with bacteria in cheese?”
From the artists’ statement, “Many of the stinkiest cheeses are hosts to species of bacteria closely related to the bacteria responsible for the characteristic smells of human armpits or feet. Can knowledge and tolerance of bacterial cultures in our food improve tolerance of the bacteria on our bodies? How do humans cultivate and value bacterial cultures on cheeses and fermented foods? How will synthetic biology change with a better understanding of how species of bacteria work together in nature as opposed to the pure cultures of the lab?”
“Self Made” is currently on view (and smell – the project is for thinking, not eating) at Gallery Science in Dublin until January 2014 as part of the “Grow Your Own” exhibition along with other synthetic biology projects including a mouse cloned from Elvis Presley’s DNA, a yogurt drink that yields disease-diagnosing feces, and a project that proposes a future in which humans could give birth to endangered species. (via huffington post, npr, and la times).
Artists Ralph Lagoi & Kate Lace’s recent series entitled “Love Land Invaders,” is a portfolio of fashion, art, and “luxurious pop” set in some of Japan’s extraordinary love hotels. I feel like I am peeping in on some superhero’s intimate moment!
Guy Denning of Bristol, UK has been putting out emotive, figurative paintings for almost two decades. He works mostly in oil, perhaps the perfect medium for working with the human figure due to its unique luminous qualities, and he takes the guesswork out of using art as a mirror for the human condition by directly rendering our anguish and strife in muted, stylized tones. He also maintains a pretty awesome daily drawing blog.
Ian Strange’s site-specific artwork injects violent excitement into suburban areas, or drops the suburbs down smack in the middle of the city. With either strategy, his work comments on the drawl and deep isolation of the suburban life through paint and installation. In his most recent project, ‘Landed’ (made for the 2014 Biennial of Australian Art), Strange created a life size installation of approximately half a suburban home, painted entirely black, and made it to look as if it had either been dropped from the sky or was emerging from the ground in the Art Gallery of South Australia’s front courtyard. Details of gravel surrounding the home and a lit porch light add credibility to the realism of the scene.
In his ‘Suburban’ series, Strange uses severe colours like red and the same matte black as he later would for ‘Landed’ to demonstrate the oddity of suburban living, and the isolation he believes is quite present in such neighbourhoods. The dripping skull is jarring, as is the massive red X, but even just the large black circle has a haunting feeling. It is as if the house is there save the one gaping piece, and the viewer is left to wonder what unsettling things might inhabit it. (Via inthralld.)
For over one hundred years the Faberge egg has been a symbol of wealth, status and beauty. Originally created by Carl Faberge for the Russian Tsars to gift their wives during easter time, its exquisite makeup consisted of the finest jewels, metals and motifs. Its structure depicted scenes of historical and domestic value which the Russian Royal family deemed significant. Over time, these precious objects d’art became unusual records of lavish beauty which consisted of coronation scenes and portraits of kings and queens.
Moritz Resl is a graphic designer based in Vienna, Austria. A smart designer with a minimalistic style, Moritz does not pollute his work with a number of narrative imagery all sharing one composition and message. Instead, he communicates the concept of his work by creating just a single, simple image. For instance, based on this year’s World Cup event, Moritz created a poster featuring an impression of a torch (edit: vuvuzela! Even better! Thanks for noticing the error guys) by combining various world continents together, all sitting in a sea of blue. Smart, well-articulated, and aesthetically sound.
Julius Hofmann lives and works in Germany. His acrylic on canvas paintings have depth and surface details that harken back to early stop motion puppet or clay animation stills. His work operates like a series of vignettes that may or may not be part of a unifying narrative. Themes of desperation, fear, and paranoia emerge from his muted scenes. Like projected nightmares Hofmann’s brash and haunting works thrill and mystify.