Mads Perch is a wonderful master of light. He not only photographs sensual portraits beautifully, but also can manipulate projections with finesse. Working mostly as a commercial photographer, Perch together with art director Gemma Fletcher has become used to producing unfussy images quickly and efficiently. He has a sensitive style that would have no problem fitting in with the digital romantics.
This is a genre where artists are harnessing digital technologies in their search for the sublime: representing manifestations of Romanticism in the digital. (Source)
Perch does just that – his images are peaceful, ethereal, emotive and gentle. He evokes something very humane with the aid of different technologies. He says of his own work:
[My] photography encompasses clean, crisp, fresh and beautifully understated portraiture to more vivid imagery imbued with vibrancy, attitude and a healthy dose of color.
Perch’s choice of patterns and tones he projects are what make his portraits so enchanting. The blocks of greens and oranges caressing noses and draping over shoulders; the stripes bending around a gently tilted head; eyelids covered in technicolor plaid – these are what turn his subjects from something expected into something surprisingly celestial. Apart from these portraits, Perch has tried this method of projection on various buildings, structures and landscapes for an ad campaign in 2014. He has also photographed the award winning Klaxons ‘Surfing The Void’ album cover, and British rock group Clock Opera’s ‘Ways To Forget’ cover. All using a similarly clever and experimental approach to light and color. To see more of his beautiful work take a look here.
It’s inarguable that making great art begins with a good foundation in the basics. And when access to studying foundations in art is free and available anywhere by simply signing up on Craftsy for one of their free online mini classes, studying drawing foundations becomes delightfully accessible to all.
Craftsy offers a wide array of online classes from drawing essentials to watercolor. Figure Drawing: An Essential Guide, taught by accomplished artist Patricia Watwood is one of the most popular classes. It’s the perfect way to try out Craftsy and experience the ease and convenience of taking a class from your home, at your desired pace. Watwood goes over the basics of rendering the figure with drawing materials in this free mini class. By guiding her students through stages, such as working with graphite pencils for sketching out simple angles, to moving into hatching for shading, drawing a figure becomes demystified. Watwood, whose gorgeous paintings are featured here, has exhibited her work worldwide at galleries and museums and has been featured on the cover of art magazines. Her understanding of drawing the figure is clear in her work and her ability to share it with her students is demonstrated in class drawings.
This online class is developed with live models, using classical techniques, making it a great fit for students at any level, from beginners to more advanced artists who simply want to brush up on basics. Convenient features such as being able to bookmark key moments, take video notes and re-watch concepts with the 30-second repeat feature make for a great student experience on Craftsy. Figure Drawing: An Essential Guide is free, so there’s no reason not to explore and give it a try!
Brooklyn-based artist Elana Adler uses the traditional craft of an embroidery sampler to outline the crude things said to her by street harassers. The series is titled You Are My Duchess, and features small, decorative pieces of needlework (which historically feature bible stories or other imagery) that say some negative, disgusting things. Adler stores each saying in an elaborate frame, and writes in her artist statement:
This series of thirty-two (plus) samplers is intended to be provocative and evoke emotion. It is a contemporary feminist interpretation of women’s work and an objectification of my personal experience. Each captures a moment, giving these words a visual presence, a power, and a state of concreteness. These words were hurled casually and heard quickly but required hours of time-consuming, careful stitching.
The physically delicate, traditionally feminine, form of the piece engages the viewer and confronts him/ her with a sweetness that may mask its crassness and vulgarity.
She goes on to explain that the strength of this series comes in numbers. While you might read one and be amused, the more you read will change your response.
The inherent filth emerges. It is a beautification of an assault. Perhaps in the moment these statements are meant to compliment, but most don’t find vulgar, highly sexualized statements whispered or screamed at them by random strangers complimentary. Rather, they are an invasion of personal space. (Via Got a Girl Crush)
Welcome to the future! A time where the good folks at LG have brought you the new 34 inch, 21:9 Curved UltraWide monitor which will surpass your wildest dreams of technology meeting form and function. Not only is this monitor an exquisite piece of design but it pushes the boundaries of how monitors are used by creatives working in film, graphic design, and photography.
As the name implies the LG 21:9 Curved UltraWide monitor is not only a beautifully wide 34-inch screen but it also is curved. This design detail helps viewers see every inch of the 178 degree field of view with ease. Gone are the days of having to daisy chain multiple monitors to one another only to spend hours calibrating colors from one monitor to the next. Now you have QHD resolution 3440×1440 on one immaculate state-of-the-art surface which will allow you to fully immerse yourself in your projects.
If that’s not enough innovation to get you to rush to the stores and pick up the 21:9 Curved UltraWide then maybe the above video will help. Watch it carefully until the end to see how the monitors can be linked together to create a unique 360-degree video experience that’s impossible with any other monitor on the market. Now that’s technological advancement!
Photographer Magdalena Bors, who currently works out of Australia, has spent much of her artistic career exploring the creation of small worlds. Often toying with domestic situations that have catapulted nearly out of control, her work toys with domestic life through a silly exaggeration of common routines; crafting to the point of knitting an entire rooms worth of goods, thumb tacks that have grown into their own ant hills on a desk. Thoughtful yet comical, she pokes fun at routine while also creating a rather transfixing sculpture out of it, pointing out an underlying beauty and the inherent art in nearly everything. Her work is child-like yet sophisticated, and reads much like a scene that has lost control through its own charisma and momentum.
“The characters in my latest series of images The Seventh Day have been overtaken by a seemingly uncontrollable compulsion to create complex environments from materials found in the domestic realm. The processes undertaken to create the landscapes are extremely labour intensive and involve repetitive, painstaking tasks. Food scraps and remnants of materials seen in the images allude to the passing of time and the physicality of the processes involved. The resulting scenes resemble familiar, sometimes iconic natural landscapes.” (Excerpt from Source)
For a plastic doll, Barbie can be polarizing. Emiliano Paolini and Marianela Perelli discovered this recently when their exhibit “Barbie: The Plastic Religion” at POPA gallery in Buenos Aires was cancelled. “Given repeated anonymous threats concerning the event, the artists decided not to exhibit his work, fearing for the physical safety of visitors,” a notice on the gallery’s website announced.
The 33 pieces in the controversial collection are each one-of-a-kind, and they include Barbie dolls as the Virgin Mary; Joan of Arc; Kali, the Hindu goddess of destruction; and the Virgin of Guadalupe, patron saint of Mexico. Ken becomes Christ on the cross, Buddha, Moses, St. Sebastian and the Sacred Heart of Jesus. The sculptures represent figures from Christianity, Judaism, Hinduism, Buddhism, and Argentine folk religion. The Muslim prophet Muhammad is not included in the series—the artists told Reuters that since Islam prohibits the creation of his image they omitted him out of respect.
Questions of taste and faith have been raised by Argentine Catholic Priests, Italian Bishops, and Hindu Clerics, much to the surprise of the artists. “We have a sanctuary in the kitchen that has more saints than the Vatican,” Paolini told the Associated Press. Some have accused the artists of grandstanding—disrespecting religion in order to gain notoriety. They disagree.
“The true message of our work was mutilated by magazines and television. That’s a shame. The media is killing our art.” (Source)
The sculpted dolls are additional portrayals in the canon of religious iconography, weighted down with the 55-year legacy of a plastic girl and her boyfriend.
Damien Hirst is often known for his menagerie of carefully curated animals. You may have seen his cow, somewhat deconstructed, or his 14-foot tiger shark preserved in a tank of formaldehyde. In his new exhibit, “Schizophrenogenesis,” Hirst turns to a different kind of preservative: the kind that humans use to maintain a delicate mental balance or for the good of our health — or so we have been told.
“Schizophrenogenesis” is a tongue-in-cheek homage (or opposite thereof) to the sleek contemporary design of pharmacology. These IKEA-worthy pills are shown in neon prints or as sculptures, much larger than life. “Pills are a brilliant little form, better than any minimalist art,” Hirst says. “They’re all designed to make you buy them… they come out of flowers, plants, things from the ground, and they make you feel good, you know, to just have a pill, to feel beauty.”
Though out of the ground indeed did they come, the modern-day herbs and remedies Hirst depicts are anything but natural. Viewers are asked to contemplate their artificial curves and edges and the distant bold-faced type of a prescription (“Take SIX capsules FOUR TIMES DAILY,” one says urgently). One bubblegum pink capsule declares, “PFIZER.”
Cuneyt Akeroglu’sRed Room series is a polished exploration of love and sex through the lens of fashion. Akeroglu enlisted top models like Lara Stone, Anja Rubik, Natasha Polly, and many more to enact scenes meant to convey the many facets of love through nude portraiture. The photographs are each stunning in their own right. Nude women (except for one male model) with ideal figures set in front of a striking red backdrops with sometimes extremely suggestive props, like Natasha Polly’s red rose spilling white liquid – read semen – down her leg, or Lily McMenamy entangled in a snake.
I’m particularly drawn to the photo of Anja Rubik where she squats on top of a mirror looking down at herself with curiosity/rapture, and holds her breast while covering the portion of the mirror that would (presumably) reflect her vagina. Akeroglu captures a moment of discovery for Rubik’s character in the photo, as well as demonstrates the complexities of being able to reach out and touch someone or oneself, and the confusion and excitement that comes from the attempt.
The only problem I have with the series is Akeroglu’s approach to the male portrait. I acknowledge right off the bat that the precedent for the subjects of nude portraiture in both fashion and art history is predominantly female, and so it’s entirely expected that his subjects would be a majority of women. What I find strange is that every woman is on full display with her entire body in the frame, where the male model, Arthur Grosse, is taken only from the shoulders up, not even baring a nipple. It’s barely a nude portrait, and only addresses the themes of sex and love using tiny beads of sweat that could indicate physical activity of a sexual nature. Although I enjoy the subtle tones of the photo in contrast to the overt sexuality of some of the female portraits, I question the decision to include a male portrait where the subject is treated with such hesitation.