Initially inspired by an accidental discovery of Marilyn Monroe’s image embedded within the frames of Shinobi—a classic SEGA console game from 1987 Japan—Atlanta-based artist Ashley Anderson‘s multi-media exploration of the icon’s 8-bit image skims across the realm of painting, drawing, collage and animated gifs. The glitchy, pixelled-out nature of the images is indicative of Anderson’s 8-bit aesthetic, but this new body of work somehow begins to morph, to twist, and to move into something more obscure. Loaded with fragments of late 1980′s digital culture, some pieces only offer the faintest recollection of the image, requiring a bit more visual extraction to pull out the digitally reduced visage of Warhol’s Marilyn. As a whole, the investigation is an intriguing peek into the nature of digital reproduction and image appropriation.
Something feels oddly luxurious about John Breed’s strange mixed media sculptures and installations. His work largely depicts a capitalistic culture of excess and its relationship with death, the most provocative of which includes the implementation of skeletons, animal and human. In “Goodbye Paradise“, Breed portrays a silver-plated Edenic scene of human and animal skeletons, speaking to the nature of renewal that is perpetually haunted by our eventual decay. His work breathes new life into these skeletons and other found objects by coating them resin,silver, or gold, giving them an effect of purity and newness. Threaded throughout his work is the idea of monetary value and how the value of something fluctuates within a newer, shinier context. Perhaps the work that best encompasses our excessive capitalistic culture is “In God We Trust,” an installation comprised of silver-plated pig skeletons labeled with the names Lehman Brothers, Goldman Sachs, Bear Stearns, Merrill Lynch, and citi bank. Breed lives and works in The Netherlands.
Beth Galton‘s series Cut Food is a side of food photography rarely seen – the inside. Galton is a prolific photographer specializing in food. While she works primarily in advertising and commercial photography, Cut Food is one of several conceptual projects from Galton. The series captures common foods, though some not so commonly sliced in half. Canned soups and a cup of coffee seem to rest perfectly in half of a container. In order to catch some of these Galton replaced the liquids in the foods with a gelatin.
Proliferations of mixtape-themed things exist in the art & design world, having hit a high point in the mid-2000′s—where images of “vintage” cassette tapes covered everything from pillow cases to USB drives. What got lost somewhere in there was the sentiment that was originally attached to the archaic plastic medium, the sense of pride that comes from crafting (and usually gifting) someone with a perfect, personal selection of songs. Portland-based illustrator Kate Bingaman-Burt has embarked on a long-running series of mixtape drawings, where she picks up long-since discarded cassettes and makes a quick, humorous sketch…and she’s taken submissions for the project for a while now. As a series, the fresh, expressive drawings reveal an intriguing cross-section of personalities, musical tastes and long-lost good intentions.
This week we’re bringing you another talented artist as part of our partnership with premiere website building platform Made With Color. Each week we bring you some of the most exciting artists and designers working today who are using Made With Color to create clean and sleek websites. Made With Color sites aren’t just easy on the eyes but feature powerful yet simple backend which allows anyone to create a professional site with just a few clicks.This week we are excited to share the layered paintings of Los Angeles based painter Britton Tolliver.
Where does abstraction and geometry meet? In what field do they cease to be independent systems and gel into one hybrid – something new altogether? Britton Tolliver’s idiosyncratic paintings are deeply rooted in this intersection. Neither solely abstract nor geometric, his paintings really entertain another idea, which is difficult to pin down. It is in the amalgamation of these different ideas and processes that Tolliver’s paintings find their own identity, somewhere in the middle of both.
Anya Gallaccio‘s installation Red on Green may leave elicit a different reaction depending on when you catch the show. Gallaccio plucked the heads of 10,000 roses and arranged them into large neat rectangle. At first the installation may resemble a grand romantic gesture. However, Gallaccio’s interest is piqued by what the installation becomes. In a way Red on Green turns into a type of natural performance as the field of red shifts to brown. She utilizes the loaded symbol of the rose as a starting point for investigating the natural processes of death and decay.
It would be too easy to suggest that Grace Mikell Ramsey‘s work only illustrates moments of science fiction or fantasy. This is not what draws us into her narratives. Instead, it’s her ability to capture subtle anticipation– insular moments of contemplation where reality gestures goodbye. Her characters stand on the precipice, holding their breath, surrendering to dreamy whims only young children or covens of three are capable of conjuring, unable to shake a certain heaviness of the pending trade and what is at stake.
Argentinian artist Gerardo Feldstein and his absurd sur/realist sculptures recontextualize the way we think about space and the body’s movement within that space. Some of his work features anthropomorphized figures, an exaggerated body part (arms, legs, heart), or he places his sculpted figures into a landscape or susceptible position. His figures encompass a narrative of power and humor, and the role that our perspective plays in relation to these concepts. Some of his mixed media sculptures emit a vulnerability that, though expressed through this absurd medium, feels relatable and almost empathetic.