Kyle James Dunn’s intricate patterned sculptures are created using a plasma cutter and lots of patience. The imagery revolves around the American idea of vacation and the island get away. A pervasive cultural myth that presents itself in literature, art, Hollywood film, and more, this fantasy is projected onto real places regardless of local cultures or economies. As such, its tropes–the desert isle, the Aloha shirt–exist in a fantasy realm outside of a specific time or place. They create a seductive language of artifice and leisure that is both costly and escapist to uphold.
Oh, the journeys you can go in books! Brian Dettmer shows no respect for Webster as he cuts this dictionary… into something far more awesome. But wait there’s more! Someone better yell timber, because here’s a forest’s worth of paper art from many great artists.
Munich, Germany based Cory Stevens shoots architectural photography in a peculiar way. He abstracts the architecture by photographing a segment of a building and reflecting it in various ways. In some photos the reflection is duplicated, and in others its repeated many times as if in a kaleidoscope. All of the reflections merge seamlessly, though, as if it were one floating structure. The strange symmetry gives the buildings an almost organic quality as if it were about to divide and multiply on its own. In a way, they resemble viruses made of steel, cement, and glass.
Jason John paints extraordinarily detailed scenes of dramatic narratives. These stories touch on the ephemeral side of a serendipitous coincidence – that cold forbidden zone of the wandering brain. More after the jump!
We have featured the work of Brooklyn based Benjamin Edmiston in the past (here). His recent pieces project a heightened confidence in collage making. His work looks as if he utilizes absolutely everything he can find. Scraps and swatches of paper litter his wacky folk art worlds. The viewer is presented with a scene of meticulously constructed chaos. In dissecting the layers one finds zany circumstances presented with precision.
Stephanie Davidson’s works are, for lack of a better word, super bratty. Like she totally knows it, too. It’s loaded with post-modern irony lost in the throes of youthful know-it-allness. (My Swedish friend calls them: Besser-Vissers. Better knowers? I always liked this invented word.) It’s kinda like wearing a scrunchie and reading the Babysitter’s Club while blasting Boyz II Men just for the kicks of a patronizingly late 90’s obtuse reference, regardless of how little I actually like it. Or, like staring into a gradient-laden orb slowly rotating a white wizzard in the middle of space. (PS thanks to Jason Redwood for the link.)