Mark Mulroney is currently showing new work at Mixed Greens in Chelsea. The exhibition, entitled We’re Never Getting Rescued With That Attitude, features paradisiacal scenery created with graphite and acrylic applied to both found book paper and carved wood panel, respectively. In addition to reading Gauguin’s letters from Tahiti, studying Tarzan imagery, and internalizing clichéd tropical sunsets, Mulroney investigated 30-years-worth of Playboy and Penthouse magazines in preparation for the show. Click past the jump for some installation views, and check it out in person before April 20th.
Nicholas Bohac is a San Francisco based artist who works with printmaking methods and acrylic based media. His two-dimensional paintings and drawings are an investigation of human influence on nature, and natures influence on humans. Bohac has created his own version of a modern day landscape, encouraging his audience to think about the ecological climate and human stweardship.
Rachel de Joode is a Dutch artist living in Berlin. Recently, she’s produced a prolific number of sculptural works that break down common perception through the use of unique materials, concepts, and execution. Her work is patently of our time, drawing on themes of technology, isolation, and highly saturated levels of information exchange. But her commentary remains singular, even in the face of some fairly evident influences. De Joode is also the co-founder and art director of META magazine.
We asked the artist a few questions about what she’s been up to lately and the various processes surrounding her sculpture-making. You can find her thoughtful answers after the jump.
All images courtesy of the artist.
The Connecticut-based artist Dalton M. Ghetti carves mind-glowingly small sculptures atop the tips of pencils. Bored with carving larger objects, the sculptor invented this delightfully miniature medium to draw the eye to the pleasures of the minuscule; in a world where bigger is generally thought to be better, his work reminds us that sometimes the most magical things can spring forth from right under our noses. Ghetti uses sewing needles and razor blades as carving tools, and he works by holding the pencil steady beneath a direct light source like a lamp. Due to the required precision and effort, a single piece may take months or even years to finish.
Ghetti’s work contains a charming childlike curiosity and innocence, one that is maintained in part by his staunch refusal to sell or profit financially from his creations. The pencil is an artistic medium in itself, and by carving it, the artist shifts our perspective and subverts our understanding of what constitutes fine art. Furthering this whimsical challenge to the visual arts cannon, Ghetti avoids fancy pencils, using only recycled or discarded pencils that he finds on the street. The subject matter of his sculptures is also delightfully regular; by carving these everyday objects—a saw, a hammer, a spool of thread— he elevates the seemingly mundane.
Ghetti’s most ambitious piece is his 9/11 memorial. For the project, titled 3,000 tears, the artist carved 3,000 tiny teardrops from pencil graphite. Each tear took approximately an hour to make, and the entire work was in progress for a decade. Together, the tears form one large drop. Take a look. (via KoiKoiKoi)
For her poignant series Behind Glass, the photographer Ann Berry traveled to zoos across the world, traversing Belgium and South Africa, documenting the sufferings and yearnings of primates in captivity. She hopes that her images of the stunning creatures, who alternately raise a hand or cast down shadowy eyes, will benefit non-profits fighting for the rights of animals to humane and just treatment.
The beautiful series vehemently avoids the high resolution color aesthetic of zoological photography, opting instead for a gaze evocative of early pictorialists, who strived to render the photographic distinctly unscientific and launched the then novel medium of photography into the realm of fine art. Within Berry’s jarringly ghostly and ethereal tones, each subject reveals a soulfulness so often hidden in photographs of animals; their struggle is urgently expressionistic, spiritual, dignified, and human. As the artist puts it, she hopes to “hear [the animals’] inner sound.”
The artist’s choice of title refers both to the glass cages and her own glass camera lens, furthering the tragic distance imposed upon animal and human; once captured in space, each primate subject is again captured and fixed with the photographic frame. The sensuality of their glittery eyes, downy beards, and calloused fingertips seduce the viewer, only to remind us that we are tragically separated from the beautiful beasts; only through glass and careful photographic printing may we strive to come together, to touch. Take a look. (via Feature Shoot and Lens Culture)
New York-based artist Marco Gallotta uses paper cutting as a way to create intricate portraits that “portray people in their natural state.” A combination of linocuts, watercolor, and collages, the multilayered images feature frontal views of people who have decorative shapes masking their faces. Patterned flourishes, water-esque ripples, and clashing swirls appear front and center as they obscure any sort of realism and transform it into an abstract work of art.
Despite these different techniques and media, Gallotta brings them together in a harmonious way. Here, each layer seems to tell a different story. There’s often a photo beneath the artist’s hand cut work, but it’s what’s above it provides a conceptual look at who the subject is. It’s their essence, and these decorative adornments speaks to the complexities of who someone is – their perceived versus actual identity. (Via Lustik)
Melbourne based Joseph L. Griffiths’ drawings and mechanical installations seek to transcribe the living relationship between man and machine. The relentless accuracy of the drawings evoke the printed sheen of digital reproduction, simultaneously celebrating and denying the human touch. His interactive drawing machines propose a return to primitive technologies and encourage a reconnection to the natural and man -made worlds through manual crafts. Directly engaging the audience in the creative cycle, his work seeks to reevaluate the human position in the technological equation, and realize the potential for art to permeate everyday life. More images of the drawing machines and drawings after the jump.(via pulmonaire)
Joe Van Wetering is a 22 year old designer/illustrator that prides himself as a Chicago native. Right now he works for a little T-shirt company called Threadless, and if you haven’t checked out their tees before, you should probably do so right now. Joe is also damn good at Tetris and if that isn’t your cup of tea, he will take you down in ping-pong. Watch your back.