Artist Andrew Scott Ross is interested in the ancient past, and uses it to better understand the present. Curious about the way museums present items from the past, Ross creates paper-dioramas, drawings and sculptures to display his own versions and representations of history.
In his 2013 work Tilden and the Theban Hero, for instance, Ross used photographic reproductions of Greek and Roman art from the Michael C. Carlos Museum near Emory University’s campus as a point of departure. He then cut by hand several elements and combined them to create an imaginative, large-scale installation. The piece employs Greek mythology as well as elements of Ross’s personal history. Informative, fun and engaging, Ross’ installations almost come to life before a viewer’s eyes.
See his work later this summer at the Winter Gallery at Millersville University in PA.
Cambodian-based artist Anida Yoeu Ali conceptualized The Buddhist Bug Project, which sprouted from her fascination of other religions. She was raised in the Muslim faith but is drawn towards the Buddhist religion. Her project attempts to reconcile these two interests. Ali explains:
The Buddhist Bug Project seeks to map a new spiritual and social landscape through its surreal existence amongst ordinary people and everyday environments. The Buddhist Bug (BBug) is a fantastic saffron-colored creature that can span the length of a 30-metre bridge or coil into a small orange ball. Rooted in an autobiographical exploration of identity, the Bug comes from the artist’s own spiritual turmoil between Islam and Buddhism. Set amongst everyday people in ordinary moments, the Bug provokes obvious questions of belonging and displacement.
The Bug’s colorful exterior references robes worn by the Buddhist Monks, while the style of its head piece is modeled after the Islamic Hijab. The travelling project has made its way to Cambodia, where Ali and photographer Masahiro Sugano stage site-specific performances. We see the Bug wrapped around tables, in a boat, up a flight of stairs, and more. Its presence allows for others to interact with it and take part in the project, which is part of Ali’s intent. “…meters and meters of textile act as skin, as a way for the surface of my body to extend into public spaces, and as a metaphoric device for stories to spread across an expanse.” She says. “For me, performance and storytelling become ways of bridging the interior and exterior space of self as well as initiate critical dialogues between communities and institutions. (Via design boom and The Philanthropic Museum)
Greek artist Teodosio Sectio Aurea builds amazingly detailed sculptures that cast unassuming shadows. Aurea constructs his work out of metal and wire, bending and shaping them until they are able to cast the perfect shadow. The shadow images he casts range from human figures to recognizable art like da Vinci’s “The Vitruvian Man,” Picasso’s “Guernica,” and Michelangelo’s “The Creation of Adam.” Aurea’s talent lies in his ability to play with light and shadow, to and conceive of a multi-dimensional artwork. The metal sculptures stand alone as captivating artwork, and Aurea’s conception demonstrates multi-faceted beauty that resides within a single object. (via my modern met)
“Godfather of Neon” Chris Bracey is the artist and collector behind London’s God’s Own Junkyard, the world’s largest collection of neon signs, art work, light sculptures, and other reworked, salvaged props. Bracey’s signs and props have appeared in many Hollywood films such as “Blade Runner,” “Charlie and the Chocolate Factory,” “Mona Lisa,” and “Eyes Wide Shut,” to name a very few. After filming’s done on a movie, the signs and props get tossed out, but 25 years ago, Bracey decided to start collecting and storing many of his more iconic creations. In this short film, Bracey explains that his experience of neon is like visual cocaine, an experience of visual addiction. He also claims that he was the first person to create the iconic and oft-used “Girls Girls Girls” sign seen at adult establishments, both in real life and in films.
After he began collecting his discarded film commissions, Bracey says he decided that he should name the collection. “I had this yard with all the stuff in it, and I’ve got loads of sheds with neon signs in, piled up. And I thought, what am I going to call it? And then I read about this book that was about an architect in the 60s who didn’t like urban America because of all the movie signs, petrol stations, gambling casinos, diners on Route 66, and big signs all over the landscape. He said ‘they’re turning God’s own country into God’s own junkyard!’ And I thought, yeah, that’s what I’ve got here. I’ve got all this stuff from God’s own junkyard which is very much like America, with all these signs. I love this stuff so much, I thought if God had a junkyard it would be full up with all this stuff, these neon signs, because I think God would really like all this stuff. It’s really magical to me.” (via unknown editors)
“Ideas win today in our society. [...] I ingest, then digest. Art is really just a mirror of ourselves.”
A truthful quote that Desire Obtain Cherish (DOC) aka Jonathan Paul takes into account while conceptualizing his body of work. The pop sculptor, obviously influenced by Jeff Koons and Andy Warhol, combines street, pop, conceptual and appropriation art in order to create sculptural pieces that explore contemporary society’s ever-growing obsessions: sex, gender, drugs, commerce, media and fame.
Desire’s kitschy, yet critical work exposes “society’s inability to control itself as it examines the commercial promise of fulfillment and happiness that ends in dependency.” DOC employs an exaggerated and sarcastic outlook that might come off as cleaver but pretentious and judgmental, but never in a bad way. New Yorker art critic Benjamin Genocchio characterized DOC’s work as “not malicious [..] He is more like our social conscience, delivering up uncomfortable and unpleasant truths wrapped in the most beautiful and seductive of packages.”
Although a conventional artist in paper, DOC deviates from the stereotypical standards of “good taste” in art as his ideas are more in line with contemporary commerce and marketing methods rather than traditional artisan methods. (via ARTNAU)
Israeli photographer Dori Caspi has spent 10 years capturing personal and intimate portraits of the Himba African tribe, a tribe that is facing extinction. For this particular series, Caspi traveled to Namibia 15 times and formed a close relationship with the people of the Himba village. This village has been encountering a progressive amount of challenges, including the intrusion of roads upon their land, and the increasingly severe threat of the AIDS epidemic which has the potential to eradicate the village entirely.
“My camera was never used as a tool of anthropological or research-like documentation of the tribes’ way of life, but always as an instrument with which I could express my love for its wonderful people, and my admiration of their inner and physical beauty. They had opened their hearts and huts to me and with time, as we shared deeper and intimate relations, they became my second family.”
Caspi’s most recent project is taking place in Southern Ethiopia, where he is capturing the tribes from the Lower Omo Valley. ”In contrary to my intimate relations with the Himba people, here I have to build trust, to create an atmosphere which would allow me to photograph the tribes’ people in a relaxed situation, yet proud and reserved as they naturally are.”
If you aren’t careful, the video Milkyeyes by Donato Sansone might give you nightmares. The piece describes itself as “A slow and surreal video slideshow of nightmarish, grotesque and apparently static characters.” The video clocks in at just over 2 minutes and features 26 different characters, and is accompanied by music you’d hear in an old, abandoned warehouse or horror film. Some characters have faces that have been mutilated and warped to the point where they are nearly unrecognizable. Milkeyes is a name that conjures an unpleasant visual. So, it’s not surprising that this video is a visceral journey into a world of unfortunate humans. We see steam coming from their heads, stuff bubbling from their lips, and eyes floating of their head. While they are affected, the environment behind them remains static and untouched. The juxtaposition between calm and a surreal chaos makes this video both puzzling and trippy. (Via Artnau)
Premiere website builder Made With Color and Beautiful/Decay team up each week to bring you some of the best contemporary artists and designers using Made With Color to build their sleek websites. Website builder Made With Color helps artists create well-designed and mobile/tablet responsive websites in a few minutes without having to touch a line of code.This week we are pleased to present the work of Roni Feldman.
Looking at art is a lot like being a treasure hunter or explorer, except the riches lie in hidden meaning and unexpected form.This rings true especially when viewing the work of Los Angeles artist Roni Feldman whose fascinating paintings are a visual game of hide and seek. As you look closer at his paintings faces and bodies appear and disappear creating a wondrous abyss of camouflaged narrative. In his portraits famous explorers of the mind and cultural icons are juxtaposed with various explorations of paint asking the viewer to become a visual explorer themselves.
Feldman’s allover black paintings appear to be black and white but are actually created from glossy, transparent varnish airbrushed onto a matte, black surface. The figures may be invisible from certain perspectives, but are revealed as the viewer moves through the gallery space. Much like how all colors of paint combine to form black and all colors of light make white, his numerous, luminous figures meld into an abstract field. Tension forms between individual and crowd, uniqueness and difference, abstraction and representation.