Epic hesher Skinner will be exhibiting all new works at Grass Hut this Jan 8, 6-9pm. For the show “My Guitar Wants to Kill Your Mama,” he’s designed a legion of spectral-axe-ular demons straight from the Necronomicon of Rock! And don’t think this is damp in the annals of a strictly-dude dungeon, there are babin’ guitar-esse heroes like Lita Ford of the Runaways and Anne Wilson of Heart. May the most righteouss riff win!
Don Pablo Pedro’s work flutters on the edge of libido insanity. It embodies grotesquely beautiful scroll paintings featuring twisted hermaphrodites in kama sutra type positions, marked with multiple genitalia. Playing tantric wizard, Pedro takes us for a hedonistic ride through all of his rosy, maladjusted conquests. Along the way, we see fine line work and light acrylic washes on muslin. Muslin is the light cottony material used by designers to fit models before cutting a pattern. Here, the artist uses it to attain a flat surface which compliments his precise drawing ability. It seems appropriate, as the artist’s work is easily suited to T-shirts and canvas bags. It holds a pop element near, yet references the old religions of Hinduism and Buddhism.The narrative, taken directly from multi-armed Kali, the Hindu goddess associated with empowerment, shows work that is happily consumed with variations of her likeness. Substituting arms for male and female genitalia, the appendages pile on top one another turning into “third eyes” and “fourth arms”. Newer studies, concentrate on multiple partners more than parts. Also portrayed in hedonistic positions, subjects mimicking, love, lust, faith, and dreams materialize. Comparisons to Surrealism, Japanese scroll work and comic books have been made. There is a Crumb association, but Pedro goes to further lengths. He takes the psychedelic yogi route, opting for freak show characters instead of urban myths. His mysterious subject matter holding true to the power of sexual desire.
Amsterdam based designer, art director, and animator Rosa de Jong creates tiny worlds in test tubes. The series, in which she has titled Micro Matter, almost acts like a physical miniaturized moment of nostalgia. Her work, in instants of logic and irrational, act like tiny encapsulations of deep rooted memories that are to uncover mysteries . Due to their scientific glassware, her pieces seem like they are something to investigate, to question, to figure out truth from. Their nonsensical yet somehow, almost recognizable nature, allows them to insist on a true moment of contemplation. Is this the depiction of something, somewhere, that belongs? Is this something that should be recalled, known? They are fantastical — they are a replica, but of something of a dream, of half remembered childhood homes, or fantasy houses, or fictionalized dwellings. Their beauty and their delicacy become even more inciting once it becomes known that they are hand made with simple products such as paper, cardboard and found materials from nature like tree branches and moss. Her work aims to tell a story, whether it be recognizable or not, she states;
“since people are naturally drawn to stories and people that are different, the goal is to tell the real story of the brand, an set it apart from the crowd, making every piece of communication authentic and personal.”
Artist Rosa de Jong uses her work to create a new narrative, to delve into the unknown through known resources; her work pushes us to feel and search, while holding our hand throughout the journey. (via design boom)
Artistic duo Sandrine Dulermo and Michael Labica turn a strange eye to photography, as they create worlds filled with plastic-like women with color palettes to die for. Having done many photo shoots for celebrities and fashion clients, their photography style is a mix of high-fashion shoots and Hitchcock movie scenes. Their use of dramatic lighting and cinematic sets create an eerie, yet playful, sense of mystery. In the series How to Spend It, a woman that seems to be frozen in an artificial stance like a mannequin, lounges around in extreme luxury. Her all-too-perfect house matches her synthetic and impossibly perfect look. Still, the scene seems too flawless, causing a sense of secrecy.
In the Dolls House, a more playful yet dark series of the dynamic duo, contains a palpable sense of madness. With the intense lighting and absurd make up, this series contains a girl who looks shockingly like a doll. Her limbs are limp and motionless, as if she has been placed like a child’s play thing in her dollhouse. Dulermo and Labica’s sense of color is absolutely breathtaking, as their photography, specifically this series, holds brilliant, bursting hues. However, these seemingly bright and cheery scenes have disturbing and dark undertones. The doll-like girl seems to have no life in her body. She is pale, expressionless, and without emotion. She is trapped in her perfect world, similar to the woman in the previously mentioned series. Both women hold a hollow sense of plasticity that renders them lifeless.
Sandrine Dulermo and Micahel Labica are masters at creating cinematic, compelling photography with an irresistible palette. They construct uncanny, eerie scenes that are both undeniably appealing and unsettling. (via Behance)
Make sure to catch Kevin Cooley’s gorgeous show at Kopeikin Gallery in Los Angeles up until February 11th of next month. Titled Take Refuge, the exhibition features large scale photographs and videos evoking human struggles in the harsh and unforgiving, yet sublime, natural world. This body of work was created in disparate locations including the Arctic territory of Spitsbergen and the American West as well in more ordinary places such as New York City and Los Angeles. Referencing the Romantic movement in art and literature, the work attests to both the fear and longing nature inspires.
Robert Melee’s exploration of human behavior through his thick, paint encrusted sculptures exude an equally generous amount of drama, narrative, and a nostalgically disturbing interaction.
Yuichi Hirako is a Japanese artist whose paintings and sculptures blend humans, the city, and the forest together into in alternate, animistic realities. The works feel like they’re made by someone who feels life around them as one unified force and doesn’t envision a cataclysmic end to humanity, but just a change in how our form of life is expressed biologically. In Hirako’s work, it’s as though a nuclear catastrophe had dissolved the boundaries between all life forms on earth, leaving behind husks of cars, trees that grow houses, varicolored trees and rivers, and people who have very literally become one with nature. It’s interesting to think about alternate possibilities for life on earth, and if humanity does decide to use all our nuclear weapons, I hope we end up in Hirako’s paintings.
Julie Weitz’s 2011 multimedia series of masked figures are deconstructed meditations on the human body that are folding, weaving, morphing, and collapsing onto one another like a jigg saw puzzle that has no beginning nor end.