Who said drum machines have no soul? By Mike Winkelmann.
Guy Laramee delicately cuts caverns through the centers of books. He carves the pages away to reveal caves that seem to be ready to be explored. His work explores the insides of books in a very literal way. Indeed, Laramee’s sculptures in way recall the plot of a classic: Journey to the Center of the Earth. And, in fact, Laramee mentions this book in his statement on the series. He says:
“Like in Jules Verne’s “Journey to the Center of the Earth”, we seem to be chained to this quest. We “have to” know what lies inside things. But in doing so, we bury ourselves in the “about-ness” of our productions – language, function, etc- all things “about” other things.”
The conceptual installations of artist Ole Ukena have a certain subtle humor. However, the installations don’t seem intentionally funny as much as the surprising innocence of a young insight. Each installation seems to pose a simple question that isn’t easily answered. Appropriately, Ukena is also the founder of a foundation that organizes collaborations between artists and youths worldwide. Ukena says of his process;
“I am not limiting myself to one medium. I simply can’t. It’s a constant adventure, finding new materials in the countries in which I travel, encountering objects or phrases that can be transformed into specific, meaningful pieces. While my work often displays a strong conceptual nature, I am also very drawn to the intuitive.This balancing energy forces me to step out of my mind and just create. These forces are like my left and right hand. My works try to create a map of the human mind, in an attempt to tell a tale about the very nature of it with all its possibilities, limitations, irritations, and hopes.”
Maine-based artist Matt W Moore is a favorite of mine, and here’s why. For one thing, this guy is into a little bit of everything. The multi-talented, multimedia artist founded and runs MWM Graphics, a studio specializing in illustration and graphic design. More recently, he started Core Deco, a brand that lets him bring his signature style to more functional design objects. But that’s all business – let’s talk more about that signature style. From large aerosol murals in Brazil or France to brightly colored, boldly patterned digital illustrations in a style the artist calls “vectorfunk,” the mark of Moore is instantly recognizable. Sculptural installations – like those done for his ‘Sun Ray Ricochet’ solo show in Moscow – are similarly characterized by well-placed angles and lines, as well as vibrant colors. Lately, it seems that Moore has been moving away from the strictures of more formal geometry and embracing a more organic, flowing style. I’m definitely liking the results so far. Check out more of his works after the jump!
One of the most iconic artists of our time Mike Kelley passed away today at the age of 58. With over four decades of activity within the international art world spanning dozens dozens of museum shows, several art noise bands, and multiple Whitney Biennial inclusions, Kelley will be sorely missed by the art community. Watch an interview with Kelley about his work after the jump.
Hm, I almost have no words for the demon-clown-spawn’s new video for the song “Miracles” off their latest album. In the vid, the group ponders the simple joys and inexplicable curiosities of life’s treasure trove…lay down their horrorcore antics, and just float through cheesy galactic space, lyrics, and “fucking rainbows.” SNL made their tribute of course, after the jump.
Italian Artist Willy Verginer is a master of wooden sculpture. Simply put, his work is beautiful. He has a gift of bringing sculpture to life and compliments it with his unique sense of color and style.
Allison Schulnik’s 2014 claymation and stop-motion film Eager is a bizarre dance of the beautifully macabre. At 8 minutes and 30 seconds, it is her longest film to date — and perhaps her darkest, portraying a peaceful, ritualistic world that spirals in and out of violent, psychedelic chaos. The story begins in an opaque, supernatural world, devoid of light, before the viewer is guided into the heart of a strange forest. Traversing these unpredictable landscapes is a cast of misfits: the multiplying, skeletal specters, who open the film with their haunting, synchronized dance; flowers with faces that pulsate and transmogrify into mouths, labia, and cavernous expressions of joy and despair; and the eyeless, fleshy horse, with his lolling tongue and genitalia, who plods along with an almost human ungainliness.
What makes the film so stunning and dark — aside from the endearing absurdity of its characters — is how quickly and easily the world of Eager oscillates between compassion and cruelty. Take the skeletal specters, for instance, who, after completing their ritual, eviscerate each other and don the bloody skins like cloaks. The flowers, too, live in a world of beauty and menace, as they dance and devour each other. Despite the darkness, Schulnik’s treatment of her “monsters” is based in love and fascination; as she said in an interview with Beautiful/Decay in 2012,
“I’m drawn to these characters, for some reason. There’s something about the sad or pathetic kind of character that I like. There’s something sad about them, yet […] it’s comforting to know that [they are] maybe not real.”
In Schulnik’s surreal and metamorphosing universe, she has created a vast creative space wherein she explores the vicissitudes of life, and furthermore, celebrates the heart-wrenching beauty of what is normally seen as “dark,” “forlorn,” or “rejected.”
Schulnik also works in other mediums; her paintings, seen here, reflect the layered, whirling, and melting style of her claymation. Check out her webpage for links to her other films. And, as it has been advised, make sure you turn the lights down and the volume up as you experience Eager. More stills from the film after the jump. (Via Juxtapoz)