Christian Kraemer AKA Dome is a Karlsruhe, Germany based street artist with a knack for monochromatic murals. Not confining himself to the streets of Germany, the artist paints his massive black and white murals everywhere from Turkey to Poland. Focusing on surreal themes, Kraemer’s work taps into mysterious narratives that take place in familiar yet strange worlds full of elongated figures wearing animal heads upon their heads while playing music as they travel in unknown seas.
Michael DeLucia draws with a scary talent for hand-rendering intense geometric grids and patterns. The Rochester born, Brooklyn-based artist (whose sculptures were previously featured here) creates drawings that reference shape, geometry and intersecting lines to create familiar and affecting moiré patterns. Utilizing carefully spaced lines, which intersect and diverge in different points, gives the work an almost meditative quality for the viewer, and more than likely for the artist during their creation.
Perhaps unsurprising when considering the strength of depth and field in the drawings, DeLucia has received more attention for his sculptural work than the works on paper, though both quite obviously inform each other. Several sculptural works (Partial Sphere and projection for example) echo the same skill and detailed work as the drawings, and exist as both independent and linked artworks. (via butdoesitfloat)
Echoliia, a collection of photographs taken by Timothy Archibald, is a heart-warming study of the photographer’s 5-year-old autistic son, Eli. In hopes to get his frustrations out through creativity, Archibald photographed his son’s odd but endearing behaviors in order to understand him better and create a stronger, trustworthy relationship between the two of them.
The collection reveals the child’s unique perspectives and interaction with the world around him. With a trashcan on his head and a cardboard tube ’arm’, Eli conquers his world. His dad couldn’t be prouder to capture the uniqueness he exudes.
“I never wanted [Eli] to think that he was normal. I wanted him to be aware of how different he was and see that as an asset.”
Through this series, not only do you acknowledge Eli’s quirks, but also witness Archibald’s accepting and loving gaze.The father and child collaboration is available in book form on the artist’s website. (via My Modern Met)
Glass bottles, broken ceramic statues, buildings, and an oven are all things you’ll find in Sabine Timm’s work. If this sounds excessive, I assure you it’s not. All of these things are miniature-size and require no heavy lifting. The Dusseldorf-based artist uses found and vintage objects to assemble tiny sculptures and arrange items in an amusing way. The images, captured in photographs, don’t seem like permanent installations. Instead, Timm’s handiwork feels fleeting, like we’re seeing a scene from a play.
Timm often utilizes the same objects among assemblages. This practice weaves a narrative through several images, and we can start to imagine a world where all of these things exist. They are vignettes, depicting a fantastic yet logical place. A pile of small petals nearly cover an entire house. Broken ceramics are given a second chance by simply drawing a new body parts. Timm also solves issues like overcrowding simply by stacking houses on top of each other. Build up instead of out, right?
There is obviously a lot of play at hand in Timm’s work. Her sense of humor is very sweet and goofy; for instance, she adds a face to plastic containers, using a comb as a wild hairstyle. It’s has a broad audience and is amusing in a couple of ways. She’s giving personality to inanimate objects, which is absurd. Additionally, the things she uses to create these faces are ingenious. Timm uses a lot of toys, such as the trees out of a train set. It’s nostalgic for many viewers, but also fun for kids, too. There is a quiet sophistication to her work. The fine details are refined and innovative, yet the attitude of the images themselves are very accessible. You don’t need a formal art education to enjoy Timm’s work, and it’s able to be appreciated on a number of levels.
Photographer Zack Seckler‘s “Humor” series captures moments of absurdity and whimsy with a subtle aesthetic. His muted color palette and compositions often feature a single figure placed within a humorous context. The effect of the humor is subtle partly because of the color palette and also because it’s often just a small detail that catalyzes the humorous story in each photograph – one that is up to the viewer to interpret. Most of his photographs are composed of absurd juxtapositions and placements, recontextualizing activities or objects in order to point out some aspect of absurdity.
Seckler says, “People view life through their own lens. I enjoy refocusing that lens and playing with our expectations of the world. By putting an uncommon twist on common experiences, I create images that inspire humor and imagination. With that, I hope to expand each person’s view -– for at least a moment.”
Seckler lives in New York City.
Website builder Made With Color and Beautiful/Decay have teamed up this week to bring you an exclusive artist feature. Each week we join forces to showcase some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek website. All Made With Color sites are responsive and come with a built in mobile site, which means that your portfolio looks beautiful no matter how it’s viewed. This week we are excited to present the sculptures and drawings of Colin Roberts.
The work of Los Angeles based artist Colin Roberts are based on the uncanny. Robert’s work consists of sculpture, drawings, and installation that deal with the subject of psychic fragility. At times grotesque (see flesh book above) or humorous (see obese wooden figure above), his work is an exploration of the human condition which employs the tactics of both surrealism and abject art. The work evokes familiar imagery and obscures it in uncanny and fantastical ways. By using lexicons common to everyday life, the pieces have the ability to cross significant cultural, social and psychic boundaries.
Kate MccGwire’s feather sculptures are awe inspiring in their detail; they are the type of thing that is marveled. Gathering, peeling, and layering are just a few ways she constructs her work. The materials, vibrant colors, and tactile quality gives them an uncanny feeling. Seeing layers of feathers, we expect a winged creature attached. Instead, MccGwire has created organic yet indistinguishable forms. Her sculptures wrap around themselves, like the ouroboros, eating their own tail. Like infinity symbols, they are never ending. These forms feel powerful, and the feathers play a large role in it. Their volume, combined with a high level of craft, make us do a double take and demand our full attention.Yes, MccGwire’s winged creatures are kept under glass so they won’t escape. But wait! They were actually real. This uncertainty is exactly what MccGwire wants. From her artist statement:
Kate MccGwire’s practice probes the beauty inherent in duality, exploring the play of opposites – at an aesthetic, intellectual and visceral level – that characterises the way we conceive the world. She does this by appealing to our essential duality as human beings, to our senses and our reason, and by drawing on materials capable of embodying a dichotomous way of seeing, feeling and thinking. The finished work has a consistent ‘otherness’ to it that places it beyond our experience of the world, poised on a threshold between the parameters that define everyday reality.
While we might try and figure out what MccGwire’s sculptures are supposed to be, that isn’t her top priority. The artist is much more interested in combining our uneasiness of the unknown with the beauty of the natural world. (Via Colossal)
For a trained architect, Alexandre Ciancio has taken an unexpected step in what to negate with his collage work series, Walkabout. By removing buildings, objects and landscape from the majority of his works, Ciancio manipulates the image so that the people photographed become objects themselves, a new visual architecture based on space, place and environment.
The Walkabout collages keep the black and white photographic qualities of an often wholesome, idealized past, and replace negative space with a soft pastel pallete, reminiscent of the same era. Depth is simultaneously given a flat quality, while figures are given a new background and environment, of their own creation. Ciancio poetically describes the series
“A walkabout, ie a multitude of people gathered in one place can be characterized by a container (location) and content (the crowd). With this definition it is thus possible to establish rules of the game: design images where all the spatial data are erased in favour of flat colours highlighting the different crowds and their relationship to space.
This rule is applied with six old black and white photographs, the various inhabitants of the images are highlighted by the lack of spatial information and the bright colours used to give depth to the images while giving them a degree of internal consistency .
These images are assembled diptych opponent whenever a frontal pose to pose in perspective. This dualism invites us into the image space and observe each of their people, their expressions, their eyes…” (via mutantspace and the jealous curator)