In his new series of collages entitled Love is like a Butterfly, artist/musician Wildcat Will delves into the absinthe drenched demi-monde of Parisian cabaret, and uses his own pop art inclinations, and other contemporary elements to create original pieces. This new series in based on the powerful imagery of the butterfly, its transitional phases, and its ephemeral and intense beauty as a parallel for the beauty and tragedy of human life.
His collages combine photographs from the Parisian cabaret Les Folies Bergère with texts. The intricate backgrounds of his collages incorporate elements such as zebra print, oversized flowers and, butterflies. The combination of old photographs with modern typography and colorful, ornate details leave room for the viewers to get lost in his work and examine the world of cabaret from a different perspective.
The clashing of old photographs and typography work together towards creating a sort of punk aesthetic which Will attributes to his cultural upbringing . He equates the ladies of the Folies Bergère to the punk rock movement and, by doing so gives another level of depth to his collages. Through these pieces, Will has created a magical platform for us to meditate on our morals and standards.
Did you just awake from a twenty year coma? Then youre probably wondering where you can pick up a current issue of .info, a magazine dedicated to Mac computers way back when they were called “Amigas“. Sorry dude. The nerds are dead, we killed all of them. But hey, cheer up! You can still see some knee slappin’ episodes of .info magazinesBryce: one of the first comic strips created digitally.
I love Emil Holmer’s nutty bright colored graffiti jungles.If you happen to be in Berlin, on Friday, 12th of March 2010 from 6 to 9 p.m., Galerie Michael Janssen will be presenting a selection of his recent paintings.
Inspired by the beautiful wildlife around her, artist Marine Coutroutsios cuts and constructs intricate, abstract birds out of colorful paper. Relocating from Paris to Sydney Australia, where she currently lives and works, Coutroutsios’s work is heavily influences by her environment. This series of hers titled Australian Birds contains patterns and colors that are found in the Australia native species she sees in her everyday life. With names like Yellow Tailed Black Cockatoo and Pale Headed Rosella, it is no doubt that the artist has named them after the individual bird species that each piece aims to resemble. It is interesting that although these pieces do not resemble the shape of a bird, nor do they possess a beak or even a head, we can still see that they are unmistakably birds. Resembling a target shape, it is almost as if the bird has been flattened into a nearly symmetrical circle.
Throughout childhood, Coutroutsios was always creating something, whether it is through embroidery or origami, which accounts for her incredible skill in paper cutting. Always feeling a connecting with nature, she also creates her own environments with her paper installations full of brilliant colors and shapes. She does not only pull inspiration from nature in the sky, but also nature in the water. Make sure to check out her Ocean Series where she takes her circular shaped method of sculpture and applies it to swirls of cut paper, creating whirlpools of color. (via BOOOOM)
“Through my travels I’ve realized how much I feel connected with my environment. It keeps me grounded and humble regarding our place in this world. With my work I’d like to inspire and engage you to reconsider the value of your surroundings. I think beauty is everywhere and it’s a powerful source of energy.”
Camilo José Vergara’s 40-year project, “Tracking Time,” chronicles urban transformation in some of the poorest and most segregated communities in the Northeastern United States. In Camden, New Jersey, one of the poorest cities he regularly visits during his documentation, he captures what he calls “Paired Houses”: two dwellings that share a wall, one of them occupied, the other empty. Because each dwelling is part of the same building, Vergara is able to capture the stark contrast between deteriorated and maintained habitats, reflecting the declining state of Camden’s housing market. For some of the photographs, Vergara returns to a building he’s previously documented in order to chronicle the absence of formerly dilapidated buildings.
In his photo essay for Slate, Vergara writes,”If a resident of a middle-class neighborhood dies or moves to a nursing home, or if a dwelling burns, the empty house is usually guarded or secured by the owner’s family. The police keep an eye out for it. Neighbors, well-aware of the impact of a deteriorating eyesore on property values, alert city officials whenever they see a house falling into disrepair. The situation is quickly brought under control.
It’s different in a crumbling inner city like Camden. Even Walt Whitman’s old house at 328 Mickle St.—the only home he ever owned—was by the 1980s adjacent to a vacant three-story dwelling and just two houses away from a ruin. House values in Camden are low and likely to remain so since the population of the city is declining, unemployment is high, and there is little new demand for houses. The number of vacant houses is likely to increase; many will eventually be acquired by the city, which is too poor either to board them up or to demolish them.”
Speaking of surrealism how about the works of Sarolta Bán? These epicly surreal photographs are painstakingly created digitally creating a seamless world where bears read stories to small birds, trees grown in the sky, humans live inside cameras, and keys as tall as buildings are portals to an alternate universe. Sarolta’s images transport us deep inside storybook fictions where every dream can become a reality as long as you believe.
Bijan Berahimi is a Los Angeles local designer, illustrator, publisher, and more. He has recently updated his website with fresh works from posters, to postcards; web sites to exhibits. His work is light-hearted and welcoming, full of color and suprises. Bijan also publishes an e-zine titled FISK – a growing resource for designers – a platform for discussion & participation.
Adam Martinakis is an artist who uses computer-generated visual media to explore the body’s relationship with life, death, and sexuality in the digital age. His images are intensely expressive, displaying the human figure in various states of destruction, transformation, and relation: people crumbling apart into darkness, disembodied limbs reaching from iron walls, and lovers with bodies resembling circulatory systems embracing in various states of intimacy. In a world wherein cyber culture is so often equated with alienation and artificiality, Martinakis has done a brilliant job redefining that realm as a facet of human identity, infusing our digital existences with the same love, passion, grief, and pain we experience in our corporeal world.
To Martinakis, the body is not an isolated, autonomous vessel; it is “a small chain link of a big project in the history of existence,” and compressed within it is all the beauty and mystery of the cosmos. Interested in multiverse theories, Martinakis tries to express the vast range of human experience through his artwork. His creations are intensely expressive and visceral; you sense immediately what aspect of life he has rendered. However, they are not simply about life, death, or sexual expression in isolation. All of these experiences are depicted in perpetual co-relation — life becoming death and vice versa, the architecture of the body being made and unmade and made again. Desire, too, is not simply a solitary, material instance, as his interlaced lovers signify; it is a fluid phenomenon, implicating both molecular connections and intricate (and sometimes violent) power dynamics.
“The human body is a wonderful and expressive tool, which gives me the ability to experiment with aspects of human nature,” Martinakis explains. The physical body, of course, is the medium through which we manifest our existences and relationships in the world — something that our immaterial, digitized lives might complicate. For this artist, however, cyber culture is a new beginning of self-understanding, and “it is also a new opportunity to redefine our own nature and the comprehension of perception.” Visit Martinakis’ website and Facebook page to further explore how he has visualized the vast possibilities for bodies and identities in the digital age. (Via beautiful.bizarre)