Portland, Oregon based artist Zoe Keller creates intricate and whimsical nature themed illustrations and designs. After her graduation from Maryland Institute College of Art (MICA), Keller found herself spending time in rural areas such as the rocky cost of Maine, on a blueberry farm in Michigan, and the quiet town of Hudson, New York. Inspired by her experience and her surroundings, Keller’s work aims to explore the “intersection of art making, activism and the natural sciences.” Using graphite renderings that are sometimes enhanced with digital coloration, Keller’s drawings are flawless and comprehensive. Each work, exploring a stylized still life or, in some cases, a more narrative focused composition, acts as a tiny shrine to nature. Many of her drawings depict endangered species, allowing her art to serve as a form of education, awareness, and perhaps memorial. For example, her piece Life Cycle portrays the various phases within the life of a Black Racer Snake, an endangered species native to Maine. Another piece, Endangered Turtles, is a charming composition of North American endangered turtles stacked by size. Her drawings have a lithographic feel, allowing them to act as a part of the classical tradition of drawing as documentation. Her images clearly pay homage to the vintage botanical drawings once used before the days of photography. Painstakingly detailed, yet simultaneously fun and carefree, her images have an almost fairytale quality. Keller’s work is undoubtedly endearing and her craftsmanship undeniably elaborate.
Colorado based artist, Ashley Eliza Williams, creates paintings of geological phenomenons. At first glance, her images appear to be the findings of a microscope, or perhaps, the photographic documentation of some obscure landscape. Her paintings are vibrantly alien, yet convincingly recognizable. Through a “lifelong curiosity about the patterns and biological systems that organize the natural world” she has created a body of work that seems to exist between the realms of science fiction and genuine morphology.
Her choice of titles lift her paintings out of a solely biological and ecological fueled quandary and shift them into a metaphorical, self-reflective, meditative space. The series itself is titled Sentient, directly opening up the work to a channel of emotional conversation, each piece taking the sentiment a little further. For example; The Inner Balance of Things, which features a delicately faded pink rock floating through a soft clouded sky; The Appearance of Quiet Restraint, which focuses on a triumphant looking boulder with small, seemingly measly mountains in the background; or Maybe We Look Like This Inside, which displays a fleshy, internal-organ-esque looking rock hovering over an empty, gray landscape. These titles add a very honest, almost painfully personal aspect to the work, hinting that these pieces act as depictions of an internal space; it is as if she is allowing the viewer into her most personal contemplative thoughts. Through pairing each painting to titles such as these, Ashley Eliza Williams proves her work to be a genuine thoughtful reflection on being human. (Via Booooooom)
Shannon Partridge’s Behavioural Enrichment series is a response to the curious worlds of the zoo exhibit and the set of the mid-century modern interior design photograph. She has merged imagery to draw comparisons between these staged sets, focusing on American mid-century interior design and Western zoos exhibits, to emphasize the theatrical artifice of both environments.
New York based artist, Denise Kupferschmidt’s work is simple and striking, Kupferschmidt’s dyed and cut pieces make me appreciate how versatile paper can be. I’m a big fan of the national geographic / space imagery. It pairs well with the symmetrical cut and paste patterns.
These videos are a bit old but I thought you would enjoy these three trippy videos by cut paper artist Jen Stark.
Watch all three after the jump.
Using photography as a tool for generating evidence, South African artist Dillon Marsh approaches the creation of his serial landscape works with the methodology of a researcher. Marsh is constantly looking to capture his subjects “in the wild,” and his watchful eye has yielded a variety of interesting results—with some topics touching on landscape, ownership and disruption in both realms.
For his “Invasive Species” series, Marsh captures instances of oddly jarring, slightly unapologetic occurrences of poorly disguised cell phone towers as they dot the South African landscape. He notes: “In 1996 a palm tree appeared almost overnight in a suburb of Cape Town. This was supposedly the world’s first ever disguised cell phone tower. Since then these trees have spread across the city, South Africa and the rest of the world. Invasive Species explores the relationship between the environment and the disguised towers of Cape Town and its surrounds.”
From setting hipster traps to designing tourist lanes on sidewalks, Jeff Greenspan’s work consistently employs a certain playful cleverness that questions our social norms in relation to spaces, New York City in particular. The Statue Experiment (pictured above) is no exception. Examining our own reality as far as engaging with art and its contextual expectations is concerned, Greenspan adds a little bowl of change in front of Frank Benson’s statue for a whole new effect. In fact, it just might be the best street performance art performed by an actual object . . . or maybe it’s the audience members who are the real performers? Click on the video after the jump to see what we mean.