Hey! Remember that interview with Keegan McHargue that we posted not too long ago? He mentioned that he was doing some sculpture work and I asked him what they look like. They look like this. Pre Teen.
London based Dines is a graphic, type and interactive mono-named designer. Whether his designs are destined for commercial industry or for more personal musings, his bright, active voice rings loud, yet harmonious, through each project- a stamp of his personal design style. You can catch up with his freshest work and news via his blog.
Inflatables have had an important place in Max Streicher’s work since 1989. In most of his sculptures and installations he has used industrial fans and simple valve mechanisms to animate sewn forms with lifelike gestures. His use of light and papery materials, like Tyvek (and more recently nylon spinnaker), have been significant to the character of their development, specifically to his focus on movement. The weightlessness of this material allows it to respond with surprising subtlety to the action of air within it. Streicher uses air to animate his work because it provides an effortless naturalism. It not only looks right, it feels right, recollecting our sensation of breath.
Inflatables are the medium of enchantment, fantasy and optimism, but things do go wrong. Take the Hindenburg, for example. Macy’s Parade balloon characters occasionally crash into the crowd. In Streicher’s work the distress behind the whimsy takes different forms. Scale is one factor. The giants, for example, are intended to overwhelm. In contrast to similar commercial counterparts, they are out of control. They appear to struggle, but why and to what end? However that sense of disruption is read also depends on what the individual viewer brings to the work. For some, gasping for breath, endlessly straining to rise, portray an image of playfulness, and even resurrection, while for others it is distinctly an image of torture. Both cases however involve physical empathy, a bodily recognition of the elemental—powerful and tenuous—forces that animate us all. (via)
You may have already seen Luke Lucas’ typography work, but weren’t aware of it; he’s created designs for companies like Target, Nestlé, The New York Times, and Barnes & Noble. He’s also done work for exhibitions and creates his own fonts. Some of the more humorous and elaborate text designs are reminiscent of Wayne White’s word paintings. Of his work, Lucas writes, “I love that the same word, passage or even letter can be treated in bunch of different ways and embody entirely different meanings… That and through subtleties like a slight shift in line weight, the elongation of a tail or the arc you use, a letter can go from contemporary to traditional or happy to sad in a single stroke…”
Spanish designer Jordi Ferreiro takes on a role often overlooked in the creative industry when he organizes these art workshop for kids. Though I’m definitely not qualified to make any astute comments on arts education in the American school system, it’d be nice if there was umm… more of it. It’s interesting though, to see the sort of primitive forms and ideas presented in the children’s artworks and think “Wow, the stuff made by (enter currently hip artist’s name who makes drawings that look like kids made them) totally looks like this!”. Maybe the form is completely mastered but not the thoughts behind it because the output of a child’s imagination is fresh. We’re just all jaded and hungry for irony.
For Cyber Monday we are giving all our faithful readers 25% off all purchases on our brand new Beautiful/Decay shop !
NEWLY ADDED ITEMS include our classic B/D shirts and our Burger And Friends wallet collaboration. We have extremely limited quantities of all these products so be sure to get them while you still can! We are also fully stocked with our limited edition art books and have dozens of newly released posters to cover your drab white walls.
Department store is dead, Beautiful/Decay is alive for your holiday season. Happy shopping!
For as long as she can remember, Kerstin Zu Pan has been drawing and painting. when she began her studies of the arts, she gravitated to photography as her medium of choice – and with it, refined her unique visual style while combining the languages of various media. using her imagination like a brush, kerstin’s lens takes the familiar and rearranges it, catching beauty by surprise when it plays around in rare, unobserved moments.
The Berlin-based photographer has worked her craft in unusual circumstances, blurring the boundaries between fashion photography and high art. The powder white skinned and rainbow colored hair figures in Zu Pan’s Supervision series (featured here) is one of our favorite bodies of work by the talented photographer.