With a background in craftsmanship and carpentry, Jan Reymond creates sculptures by recycling discarded objects. His most well-known installations are made of books. Even in his smaller scale work with furniture, his eye for architectural design is apparent. He’s also created large scale designs made out of discarded cell phones. In addition to this installation work, he crafts furniture and other domestic objects with an eye for practicality and aesthetic pleasure. His work asks us to consider the boundary between functional and non-functional artwork.
Angela Dalinger’s illustrations are difficult not to fall in love with. They are funny, whimsical, strangely stiff, and make us nostalgic for our own lofty teenage renditions of music, art, and adulthood.
The playful bio on her website only adds to the cryptic childlike mystique-
“I’m 29. I live in a very small town very close to Hamburg since I escaped from there. I am busy working on my career in illustration, means I’m mostly busy painting and drawing and being nuts. I’m born as Sandra Angela Wichmann and use my artist name since 2 years, simply because I really hate my real surname.”
Fabienne Verdier paints with unconventionally large tools. She creates her own brushes, made from substances like sheep hair, duck down, or horse hair, sometimes reaching 6 feet long and over 150 pounds. The brushes are suspended with rope, and then handled physically, or with the help of a pair of bicycle handlebars. Trained under a Chinese painting tradition, Verdier frequently uses black to create her paintings, but will often transgress this tradition by using bright, earthy colors. Preparing ascetically before each piece and practicing the art of spontaneous expression form the basis of her work.
Tabitha Soren‘s most recent body of work, simply titled Running, is an interesting collection of photographs that capture individuals fleeing in a state of sheer panic. By withholding most of the context from these freeze-frame images, Soren leaves her audience hanging in a moment of suspended terror—with no option but to construct a narrative around each scenario she presents. Each highly cinematic snapshot resonates with an easily relatable range of human emotions, and the focus of her work as a whole is tied up in using her lens to investigate the messier moments of life.
A longtime journalist and documentarian, Soren seems comfortable working in the realm of subject matter that is slightly unresolved. ”My work is about what people can survive and what they can’t,” she says. “It’s about decay, how life can be reckless, and how you have to keep going. I explore how people can pick themselves up.” It’s interesting to see how these themes play out across the series, leaving traces of vulnerability, fear and escape etched into their collective storyline.
See Soren’s work currently on view at Kopeikin Gallery in Los Angeles.
Strainers are tools not often seen outside of the kitchen, much less in the art studio. However, artist Isaac Cordal puts them to use in a series of street installations titled Cement Bleak. For the series Cordal sculpts human faces into the mesh of the hand held strainers. The strainers are then inserted into the ground. Sunlight or streetlights pass through the strainers and project a shadow portrait onto the sidewalk. The nature of strainer’s mesh allows for a strangely realistic face from several angles of light.
Photographer and designer Manon Wethly has been experimenting with a series of photographs that is almost certainly as fun to shoot as it is to look at. Wethly flings beverages of all sorts into the air and photographs the flying liquid. The floating globs of wine, juice, coffee, and milk which are in midair for a moment are instead frozen for a single image. These flying spills resemble abstract glass sculptures. They’re color against the blue sky and swirling shapes make these “accidents” artful. [via]
Artist Joanne Arnett‘s artwork reproduces mugshots in a uniquely meticulous way. She painstakingly recreates these images as woven textiles. Mixing thread a wire, the result is similar to a shimmering newspaper photograph. Mug shots are generally thought of as utilitarian, empty of aesthetic, and quickly forgotten. Arnett wittily juxtaposes this against the form of a tapestry – valuable textiles often passed on as heirlooms. Interestingly, the title of each piece is the accused’s sentence. For example, the title of the first image is “Two Years and a Fine of $2,000″.
When Isaac Tobin is not working as a senior designer for University of Chicago Press or playing with type design, then he is whipping up some pretty phenomenal collages with minimal resources. Each piece remind us that cutting back and holding the line is just as important as drawing it. His seemingly simple use of familiar and found paper products matched with sporadic vintage text and condensed doodling presents an accessible everyday charm that inspires affordable creativity.