Photographer Amy Friend‘s series Dare Alle Luce is a visual interpretation of the Italian saying – ‘to bring to the light’ (in reference to birth). She has birthed new light (literally) into something old. Sourcing vintage photographs from markets and online, she has pierced them with hundreds of holes, tracing around silhouettes and filling shapes with delicate perforations, flooded by light. Initially starting the project by embroidering the images, she found the effect of hundreds of little needle holes more interesting and decided to pursue that technique instead. Instilling new life into these images from the past, Friend has created hauntingly mysterious objects that exist in between historical and contemporary worlds. She says of her motivation:
I aim to comment on the fragile quality of the photographic object but also to the equal fragility of our lives, our history. All are lost so easily. By playing with the tools of photography, I “re-use” light by allowing it to shine through the holes in the images. In a somewhat playful and yet literal manner, I return the subject of the photographs back to the light, while simultaneously bringing them forward. (Source)
She goes on to say:
In my work I gravitate towards ideas relating to time, memory, impermanence, and the fluctuations of life…. In my practice I tend to work within the medium of photography, however, I am not concerned with capturing a “concrete” reality. Instead, I aim to use photography as a medium that offers the possibility of exploring the relationship between what is visible and non-visible. (Source)
The work of British artist Claire Morgan is alive with natural forces. Birds appear to fly, flail, or fall through lighter-than-air formations of seeds. Using nylon thread Morgan suspends her installations giving the impression of an event caught in time. Peculiarly, she is able to express the idea of passing time and motion by appearing magically to stop it. Morgan’s interest in natural forces is clearly apparent in her work. The installations are nearly a way she can manipulate these otherwise immutable forces.
Ashkahn Shahparnia, (pronounced ASH-CON SHAW-PAR-NEEYA) is a Los Angeles based graphic design artist whose work is colorful, whimsical, funny, and immensely clever. His designs, which seem to come from a world that is forever changing from spring to summer and back again, transition easily from one product to the next. Graphics for tote bags, t-shirts and pillows, album cover art, patterns for wall paper, some killer custom typefaces and much more, all fit snuggly into his portfolio (along with just about every color imaginable). Capturing the age-old and elusive ‘show-not-tell’ mantra of artists everywhere, Shahparnia’s fonts and graphics truly have personalities of their own. What is perhaps the most exciting is Shahparnia’s use of unexpected items in his designs and graphics, such as the elements of a dismantled avocado to create a minimalist, geometric pattern. Or the graphic representation of the evolution of bikini wax styles from the 1960s to 2000s, matter-of-factly printed on the side of a tote bag. Which makes sense when you look at the extensive list of his inspirations on his website, crediting everything from Lil’ Wayne to Carl Andre to an adorable baby polar bear. While much of Shahparnia’s work is very tongue ‘n cheek, he demonstrates a true understanding of how graphic design can completely dictate the emotional value of an image. Celebrating all styles, be they kitsch, cute or cool, the designs all have one thing in common: they’re great to look at and you’ll probably have a hard time not smiling.
Move Mountain is the latest stop-motion animation by Kirsten Lepore, a Los Angeles based director and animator. We’ve featured films by her before, and Lepore’s newest work does not disappoint. She describes the short film as “A girl journeys through a vibrant, pulsing, macrocosmic landscape, but a precipitous incident compels her to venture up a mountain in an attempt to save herself.” The story itself is a surreal tale, and at one point oscillates between dreams and reality. It also shows us that at any given time, we are at the mercy of our environment.
The film is Lepore’s Master’s thesis from California Institute of the Arts and took her two and half years to produce. The use of handcrafted characters and fully modeled sets is really impressive. With the current trend being slick-looking techniques, it’s nice to see evidence of the hand in this film. (Watch the behind the scenes video after the jump.)
In addition to Lepore’s own character designs, she’s enlisted the help of animator friends, including the likes of Julia Pott, Lizzy Klein, Ethan Clarke, and more. They make one of my favorite scenes in the film, which is an unexpected but welcome surprise.
It’s not everyday that we post an artist who works with yarn but Jo Hamilton’s crochet portraits are really interesting. I’m really happy that Jo decided to not over finish these and left them without a background and with the yarn hanging down. Sort of looks like paint drips and adds another dimension to the work that you don’t see often in crochet.
We are comparable to moths. This is what I think Bernardi Roig is doing with his mixed media pieces: allowing us to see our own attractions to the glowing lights brought forth with the Information Age. From computers to iPhones to tablets– our desire is instinctual or . . . mindlessly animalistic. I’m thinking here also about near death experiences: going towards the light. Remember that iconic scene from Poltergeist? Carol Ann. This too. It’s not about where our bodies gravitate or evolve, but how we speak to the light and what we leave behind as we travel towards it.