Robbie Rowlands is a Melbourne based artist whose work explores notions of stability and vulnerability through the manipulation of objects and environments. His repetitious and precise cuts and the resulting distortions reflect the inescapable passing of time that affects everything around us. Rowlands’ works have been described as“spotlighting the history, humanity and function” of his subjects. His manipulated objects and spaces blur the boundaries between our fabricated world and the natural world.
For their exhibition, Telephone Blue, taking place at Synchronicity Space on April 20 – May 19, Aaron Anderson, Eric Carlson and Crystal Quinn (founding members of the artist collective Hardland/Heartland) continue their formal practice of intuitive collaboration to produce narratives of playful allegories and coded symbols that materialize as drawing, video, and sculpture. This exhibition will exist as an extension, literally and figuratively speaking. Physical work existing in a digital world that happens to be an extension of our physical world.
In addition to the physical gallery show the three artists have collaborated with LA artist Spencer Longo on a web based project that lives on the Synchronicity website called LA Internet. See LA Internet at www.syncspacela.com at anytime and visit the shows opening tonight from 7-10pm at 713 Heliotrope, LA, CA 90029.
Stephanie Gonot‘s takes the classical still life and replaces fruit, flowers, and skulls with fanta, lunch meat, and ice cream. The results are clean and funny and a totally great time. Right now she is working on a bi-weekly column called “Food Mood” for the Italian magazine Red Milk where she takes fashion photographs as inspiration for her photographs of food. It also is a joy.
Photographer William Mortensen (1897-1965) was known throughout his life as someone who took pictures of Hollywood Stars. These were during the 1920s and depicted celluloid figures in a pictorialist romantic style. In his spare time, Mortensen would create images featuring semi-nude women engaged in various acts of witchcraft and debauchery. Mortensen’s practice of creating elaborately staged scenes and technical effects were ahead of their time. They set certain standards and became popular trends in fine art photography still valid today.
By using different elements in his pictures, Mortensen also turns these unique creations into storyboards filled with narrative. There’s movement and action in these stills which add to their beauty.
Despite the apparent influence, Mortensen would have great debates with Anselm Adams, the great naturalist who would call him a heretic and the anti-Christ. Funny be known now and probably back then too that the anti-Christ would always be much more interesting a subject to ponder in the realm of ideas.
When you think of a someone who’s a “crazy cat person” you might imagine them to live in shambles overrun by felines. In Andréanne Lupien’s series Crazy Cat Lovers, however, that’s not the case. Her amusing photos feature people in their otherwise tidy homes, yet surrounded by their cats duplicated many, many times.
These images celebrate her love of felines, and the initial inspiration was her own cat. Lupien tells us, “I had fun taking pictures of myself with my cat, putting it around me in the room so that the final picture would result in my cat being multiple times in the photography doing multiple actions. That was it!”
Crazy Cat Lovers makes light of the cat phenomena. With their Internet presence like videos, GIFs, and photos, felines become more and more popular. “This was my opportunity to fully talk about it.” Lupien says. “To create the photos, I would take my photography kit, put it in my bag and leave to explore the world of some crazy cat lovers. It was a great adventure! I would visit unknown people or I would go to a friends house. It was always a new universe to discover. Every picture had its own essence and energy, its own universe. It was like visiting a person’s unique world.” (Via Yahoo News Tumblr)
Mathieu Connery, aka 500M was busy from this past May to the middle of July. During this time, he painted 10 abstract geometric murals on sidewalks for the second edition of the MURAL festival in Montreal. Connery produced one of them per week that are located along Saint-Laurent Boulevard, which was the official location for the event. His minimalist spray-painted pieces are colorful works that sprawl across the cement and are best enjoyed when looking at them from above.
Connery’s pieces for the festival feature a host of geometric shapes that include criss-crossing lines, block forms, and the illusion of them being in 3D. They are influenced by urban architecture, which you can see in the artist’s organization of these pieces. There’s a fluid rigidity, where lines aren’t exactly straight but mimic things like a net, a building tower, or even a maze. People can interact with them as a work of art (and look at them from afar) or follow the lines and move through them. (Via Vandalog)
Emil Lukas doesn’t actually paint, and half the time he has larvae do it for him. The Pennsylvanian artist’s recent exhibition at Sperone Westwater Gallery was comprised of two bodies of work: one of paintings made entirely with fine thread, and the other artworks with many layers of larvae trails recorded in ink. His strategies to create these works are particular, and in the case of the larvae pretty unconventional. Lukas’ creativity is reactive and set in the present. With his thread paintings, he mounts one thread across the canvas, considers its placement and compositional purpose, and then continues the same process with the next. In a macro and micro sense the work is contemplative, as each thread is placed with purpose, but also that the final composition should turn out having the same slow and purposeful glow as the act itself.
In the summer, Lukas keeps fly larvae eggs in a converted Tractor Factory that he uses to create his ink-path pieces. He covers the larvae in ink, and uses light and shadow to manipulate their route. After, he applies a translucent wash over the trails, and repeats. The level of control that Lukas can maintain is both impressive and essential, as the strategy seems to form a good balance between chance and design that produces consistent but unexpected work. The paths end up looking like tree roots or coral. Nature is ever-present in the layers of Lukas’ paintings. (Via Artnet)