Vittorio Ciccarelli’s photographic series titled Invisible captures parts of the world that we pass by - what we look at, but don’t really see. The artist highlights fast food chain signs, lamp posts, factory windows, and more in these simplified and beautifully-designed images. Ciccarelli’s works feature vibrant blues, reds, and yellow hues, and it’s clear that he caught these places on a good day.
By zeroing in on just a couple of sets of windows or a portions of a sign, he creates abstract compositions. We now focus on the formal aspects of the work rather than where or what the image is of. Sure, we might recognize that the two lights are the top of a lamp post, but that seems secondary to the gorgeous shapes and how they interact with the cloudless blue sky. When you look at these places just so, as Ciccarelli has done, you see how peculiar the seemingly “invisible” things in the world really are.
If you’re Ophidiophobic, Guido Mocafico’s photo series “Serpens” (1-4) is not for you. Slithering, scaly, sinuous—snakes are one of the most widely reviled creatures on Earth. And yet Mocafico’s still-life photos of snakes in a box, including vipers and cobras, are absorbingly beautiful, full of color and pattern and twisting, supple shapes. In the collected photos of Serpens, which has also been published as a book by the same name, the snakes are like nature’s art swatches, rectangular and saturated.
“The first time I photographed a snake up close, I nearly fainted. I’d always found them terrifying, but also fascinating—an attraction-repulsion I think most people experience when they encounter beautiful animals that creep or crawl. My goal with this series is to explore that intersection of human emotions.”
“Serpens”, “Aranea” (Spiders), and “Medusa” (Jellyfish) comprise the trilogy “Venenum”, all shot on black backgrounds from above, all terrifyingly exquisite. Mocafico worked on these long-term personal projects, published in books and shown as gallery exhibitions, alongside his commercial and advertising activities.
“Each photography session takes about 45 minutes. The expert corrals the snakes into a cloth-lined, clear plastic-sided box. Then I stand two feet away, pull back the top, point my camera—I still prefer the look of film—and wait for patterns and curves to emerge.
This series has been good therapy and education for me: I can handle snakes now and have learned a lot about different species. But I’ve learned most by watching people react to these images. Their fear and desire reveals something primal about our species.”
Looking at these images, there is nothing inherently scary about these reptiles. On the contrary, they are gorgeous—their hues and markings lush and complex. By elevating snakes into art, Guido Mocafico makes us look, really look, at the mesmerizing source of our fear. (Via Juxtapoz. Artist quotes via National Geographic)
20 Year Old Gustavo Fuentes (aka Flëkz) is not your usual graffiti artist. This L.A. local creates large scale murals on the walls around the city without the aid of stencils, rulers or spray paint. His only material he uses to create his pieces is a roll of humble painter’s tape. Finding light colored, bare walls to work on, Fuentes uses the electric blue of his tape to create amazing designs that you can’t help but notice. The contrast makes his pieces hover and pop off the wall and definitely stand out against the background.
Refreshingly different from most other graffiti and street art, Fuentes is quickly forming a fan base. He uses a technique of overlaying the tape and playing with the thicknesses and gaps left between the layers to create really interesting patterns and optical illusions. Deceptively simple, his pieces are actually full of strange perspectives, beautiful symmetry, fractured segments, sneaky curves and clean crisp corners. Featuring many variations of triangles and prisms Flëkz’s pieces add drama to the cityscape, but still don’t escape the inevitable fate of all street art – that it is unfortunately temporary. So if you can’t see his work out on the streets, and want to see more of it while it is still visible, go here. (Via Source)
LA based photographer Ryan Schude knows how to tell a full story with just his lens. His elaborately structured photographs form a world all their own. Sometimes crass, sometimes out of control, his work hearkens to that complex visual zone inhabited by artists like fellow photographer Gregory Crewdson, director Wes Anderson, and we should probably mention David Lynch as well, just to cover the bases. Dense with intricate details, diverse characters, and everything somehow happening all at once, Schude’s photographs never look the same twice.
There is a story being told, and the image comes off as that of a film still; yet we are seeing a flash of an in between, we are neither here nor there but just in the middle enough to not be able to articulate what is going or why. Schude exhibits a playfulness within his settings that keep the scenes fun and adventurous, but many have that same alienated, nearly possessed, quality that Crewdson was so good at nailing. And that defiant divorce of logic within narrative that Lynch also adores employing in his films. Although everything looks the same as it would in the real world, the laws of the universe are clearly different within the realm of the photographed subjects, and that is what makes them so intriguing.
See Ryan’s work next month at bG Gallery in Los Angeles, CA.
Milan-born artist El Gato Chimney combines illustration, painting, and street art in a blend of whimsy and surrealism. In his bio, he lists his studies as: “alchemy, ancient and modern art, magic, mirabilia, occultism, popular folklore, primitive art and spiritualism.” Though it might seem like too broad a net, all these influences can indeed be seen in his work.
His illustration is dualistic: brightly colored, they look like pages from some charming, nonsense tale meant for children. Simultaneously, there’s something darker simmering underneath, like the fairy tales of old where women danced in burning shoes and decapitation was nothing more unusual than a particularly large yawn. Occult symbols are sprinkled throughout, and figures are occasionally found in ritualistic poses, like small animals mid-pagan festival.
El Gato Chimney’s bio ruminates on this undertow: “When in front of these works it is impossible not to wonder what hides in the woods, where that road will lead up to, why these beings trust in such a blind way this primitive religion, partly attributable to preexisting cults, partly made up.”
Will Cotton has created a very successful career from painting fluffy cotton-candy cloudscapes and supple naked women. His body of work can be divisive, as it can easily be seen as gimmicky. Beautiful/Decay covered his portraits of Katy Perry a few years ago, and did not hold back any punches. In his more recent work in the past two years, though, I think there are some exciting, if subtle, developments taking place. Sentiments that have always been on the periphery of his work, but ones that I hope will begin to come through more strongly.
First, I will say that I do enjoy Cotton’s aesthetic to begin with. I mean, sorry, but I literally want to lick every part of every painting, and I’m not even into women. They’re delectable, and I know that’s his aim. He certainly isn’t challenging anything with his work; he adds a spoonful of sugar, and then another, and then shovels in more after that to seduce you with succulent sweetness. Maybe I’m even a little disgusted with myself for becoming rapt in his opulent fantasies. That said, I think his work is very apropos of our contemporary circumstance, and damn, does he capture our plushy, overabundant lifestyle with imagination and skill.
Honestly, I think the joke is on us for eating it all up. If anything, Cotton’s practice provides a mirror to reflect the image of the art world, at least some of us totally ready to douse ourselves in oozy sweetness so easy to swallow. I enjoy the beastly undertones, though. In the past two years, Cotton has painted two fish-looking creatures ridden by nude women, and I’m curious to see how this narrative develops. I find these works the most compelling, as the women seem to have more depth in their expressions, as well as an air of command. I think it would be tacky to suddenly have ghoulish creatures descend upon the candy lands and their nymph inhabitants, but the gradual emergence of a threatening presence would be a welcome addition to my eyes.
New York-based German artist Markus Linnenbrink has created an enchanting installation which envelops visitors in a disorienting colorful pattern. Although not exactly in a ROYGBIV formation, this rainbow room, made of bold hues of acrylic paint covered in epoxy on resin, creates a unique experience for viewers. The piece above is named “WASSERSCHEIDE(DESIREALLPUTTOGETHER)” and is currently up in Germany at the art center Kunsthalle Nuernberg until October 12th.
Linnenbrink has worked within this use of line work and colors for much of his artistic career. While some of his shows have featured conventional paint on canvas work, he often utilizes the space to its maximum effect. Linnenbrink composes a piece of art one walks into, is a part of, and can see from all vantage points. One really intriguing work of his, shown below, features colored line paintings hung on walls that are doused in lines of grey and black.
The artist toys with color and boundaries of separation. The colors bleed into one another, drip lines form from gravity, and each layer is pulled into subsequent layers. Despite the rigidity of the lined patterns, there is always this aspect of chaos and an unwillingness to be contained. Boundary breaking, inside of the canvas and outside of it, stretching his vision across whatever parameters may be set architecturally. The dramatized effect of this work becomes atmospheric; how one relates to the space then changes, as the lines and contours of walls are abstracted, nearly dissolved, through the blanket of pattern. The piece is primarily dictated by the space it is shown in, but ultimately the space is taken over by the artwork, creating an interested and entirely unique interaction between the two within each and every installation.
Artist Lia Melia grew up a few minutes walk away from the sea, and today it is still her main source of inspiration. And, you can definitely tell – her colorful, swirling paintings are reminiscent of the large body of water. Mythology has also been a life-long love of hers, and she depicts elemental forces that are represented by the gods.
Melia uses a variety of methods to create these highly-textured works, and she’s developed her practice over the course of many years. Powered pigments and solvents are baked into aluminium, or occasionally, onto glass. She uses fluid mixes which require high levels of control, so they are often thickened to make the medium easier to use. Different elements are layered to give them a rich, visual depth.
Looking closely at these paintings, we see that her skill in creating textures give the illusion of crashing waves, stormy skies, and ocean foam. Melia’s tightly-cropped compositions freeze a split second in time, and anyone who has stood in the water can imagine what happens beyond this scene. (Via Saatchi Art Tumblr)