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Inspired By His Medical Background Nate Stewart Takes The Knife To Paper In His Stunning Carved Sculptures

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Artist Nate Stewart has been using his medical background as an intensive care nurse to apply intense precision to sheets of paper. The result is a series of stunning paper sculptures full of intricate details, shapes, and angles. Stewart states that his process includes blade, which he uses to “carve, fold, and sculpt the paper.” This combined with his medical precision make for beautiful and original sculptures that each tell stories of their own.

The angular details of these paper sculptures are fascinating in their architectural structure and the use of paper as a medium, not to paint or draw on, but as the material being sculpted adds to their magic. Stewart explains that his work reflects the different aspects of life approaching elements like growth, disease processes, and decay. He cuts into the paper with a surgical precision that merges art and science in a most fascinating way. Stewart has managed to take his knowledge of the various processes and steps of life, death, and disease and has applied them to blank sheets of paper. By doing so, he has given new life to the paper and has extended its use beyond that of being a platform for other types of art. With these sculptures, paper is the medium and the message.

Stewart’s art has recently been in an exhibition with artist Li Hongbo’s work, he has also shown his work at SCOPE with Rush Arts and the Bombay Sapphire Artisan Series. His work will be making its way to AQUA and Art Basel later this year.

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Josh Keyes’ New Paintings Create A Surreal Environment Of Majestic Beasts Living In A Strange Future

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Something strange is happening in the food chain in Josh Keyes’ new paintings. He renders powerful animals dominating the land; living among other species that they would otherwise never see in current times. A polar bear and a deer swim with the sharks in this artist’s surreal world where creatures run wild. His previous body of work featured the same majestic beasts, but in a sort of diorama display that has you feeling like you are a bystander looking in. Keyes’ new paintings immerse you right into the scene, creating a whole new atmosphere. The environments created are surreal, yet they seem familiar due to the common iconography included in the compositions. Although there are no humans present in any of Keyes’ paintings, we do see remnants of human life. Abandoned traces of civilization remain in the artist’s dystopian world. Street signs exist, but the roads are no longer there, now covered in plant life. Broken down, rusty cars are now trampled by wild fauna and vacant building’s are now part of their playground.

Josh Keyes’ work leaves us asking, what has happened to this world? More importantly, it asks, is this world better or worse than our own? There is a strong sense of environmental politics in the paintings, as the images could possibly be a warning sign for our not so distant future. The natural environment has been changing for some time at the hand of humans. Could this bizarre world be where this path is leading us? Living in Portland, Oregon, Josh Keyes feels a strong affinity with nature and the beautiful, natural environment around him. His incredibly realistic paintings are intriguing as they pull you into both their surreal beauty and their environmental urgency.

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The Mysterious Pixel Illustrations Of Uno Moralez Disturbs And Provokes The Imagination

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When he’s not drawing for commercials and films, Russian artist Uno Moralez disseminates mysterious—and oftentimes erotic and horrific—bit-style illustrations onto the internet. His work is both thought-provoking and unsettling, depicting supernatural events, bizarre social situations à la David Lynch, and sexual scenes uncomfortably twisted with an aroma of absurdity and the grotesque. Demons, deranged gods, devious criminals, and sleeping beauties populate Moralez’s world.

What makes each of Moralez’s images captivating is the amount of narrative they encompass; it may be as eerily simple as a boy waiting for a bus in the dark woods, or as strangely elaborate as a man being asphyxiated by a demon’s tongue while two women look on. Elsewhere, Karl Lagerfeld is voyeur to a woman’s encounter with herself in a mirror held aloft by two teddy bears; in another image, a man vomits mournfully into the ocean. Objectively, none of these scenes make logical sense, serving instead as fuel for the imagination, like symbolic—and somewhat disturbing—images wrenched from a dream. Even where Moralez has drawn several connected images, such as the thief who steals a jewel from a sleeping woman’s forehead, there appears to be a story that supersedes the boundaries of the illustrations.

In an older but fascinating interview with The Comics Journal, Sean T. Collins had the opportunity to chat with Moralez about his art and influences, which draw from traditional Soviet art and Japanese manga. Remaining somewhat ambiguous, Moralez maintained in the interview that his images are aimed at being imaginative, symbolic, and mysterious, rather than directly shocking or horrific. When asked if the erotic energy present in his work was personally sourced, the artist compellingly replied,

Does it mean that erotic nightmares regularly strangle me, and that is reflected in my art? Of course not. In sexual passion I see an irresistible force, in front of which most people, even very strong ones, appear as helpless victims. There is something diabolic in it. Passion is a fire. This symbol seems very suitable for passion, and I use it very often myself. (Source)

Enticing us with mystery, human drives, and drama, Moralez’s dark, pixelated stage is worth wandering onto. Check out his website to view more, and click here to read the full interview The Comics Journal. (Via Juxtapoz)

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Chu Teppa’s Little White Dolls Of Mythological Goddesses

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The world of Chu Teppa is magical. She recalls memories from her childhood and from those she creates mythological goddesses. Among the seven dolls forming the family, there’s Cîz, Goddess of light, predictions and hope riding her swan and leading a bottled frog; Dvü, Goddess of inspiration and fertility with her cat nose and Hyê Goddess of maternity, kindness and antics holding two pigs and wearing a pig nose herself.

Each doll is white, a color dear to Chu Teppa which, according to her, brings peace and comfort. Interested in the expression of feelings and emotions, she uses white as a mask, a layer that helps forget worries. In opposition, the touch of vivid colors symbolizes life as joy and pain. Wanting to design tender sculptures, the artist nevertheless claims that imperfection is part of being human and that it shouldn’t be forgotten.
If color has a strong meaning in the art of Chu Teppa, the 3 lettered names of the goddesses are even more relevant. The number three, according to the artist, is an expression of artistic expression, vital optimism and abundance.

The artist is sensible to the duality between clarity and darkness. Two concepts that are identified by almost everyone and part of their mission “to transcend into eternal light as we evolve”. Through her fantasy universe, her goddesses and her symbols, Chu Teppa suggests an introspection of the combination of agony and its polar opposite, pleasure.

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Megan Straeder’s Enrichment Center Displays Mesmerizing Futuristic Lightscapes

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Artist Megan Straeder’s most recent work is a hanging installation, a display of brilliant light work in intricately woven nets placed descending a staircase. Appropriately on display at the Brisbane Powerhouse, her work breathes modernity and is reminiscent of 3D blueprints and 1980s computer technology. She cites Portal and the 2002 film Teknolust as visual inspirations for her work, she works with a lot of neon lights and futuristic elements. She plays with light and dark in this project, and makes use of a necessary darkness to be able to create such a stunning display of lights.

Straeder describes her piece as a “space age environment” inspired by “visions of the future”. Her work does reflect heavy inspiration from such decors and it might even remind you of Tron. Straeder describes this installation as a “vortex of light and color” and, the fact that the piece is hanging in a staircase reinforces its ethereal aspects. Enrichment Center constitutes the perfect décor for a houseparty featuring a futuristic techno soundtrack and probably lots of drugs.

The power of this pieces lies both within its sources of inspiration and the fact that, through these sources and her own creativity, Straeder has created a transmedia art piece and a reflection on what we perceive as futuristic imagery.

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Tour de Fork’s Edible Rings Will Make You Want To Play With Your Food

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Tour de Fork is a creative duo made up of photographer and food stylist Claudia Castaldi and product designer Stefano Citi. The pair of “culinary creative consultants” are diving head first into revolutionizing DIY culture. Their collection of laser cut rings is a magical and intriguing combination of culinary art, 3D printing, and jewelry making. Their process is a perfect combination of technology and culinary art: The 3D printer provides them with the rings, which are laser cut and can then be decorated with various edible deserts and other foods of choice. The end result is an original ring featuring an edible jem, giving their jewelry an amusing double status of accessory and snack.

Their merging of technology and art is both clever and amusing. Making edible art seems like something out of a dream and, here it comes with the added advantage of being a DIY project which adds to the fun. Their process is innovative and gives us more of an inside look into the potential of 3D printing while merging old and new forms of art and expression.

The winning combination of the culinary and jewelry arts makes for an original take on ornamental foods, similar to gingerbread ornaments. Their rings are the perfect gift for the person who is both always hungry and loves to accessorize.

Downloads of the designs can be accessed via the Tour de Fork website.

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Penny Byrne Sculpts Detailed Porcelain Figures Embedded With Irony And Dark Political Messages

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Penny Byrne - Porcelain

Penny Byrne - Porcelain

Penny Byrne - Porcelain

Penny Byrne is a Melbourne-based artist who creates porcelain figurines laden with bold—and often grim—political messages. We featured her earlier work in 2013, which delved into slavery, the war in Iraq, and dolphin slaughter. Her more recent pieces follow along similar themes, unpacking violence through images of militarism and animal cruelty, while also focusing on more specific topics such as the Occupy Movement and the conflict in Syria.

What makes Byrne’s work both shocking and persuasive is the clash of a domestic medium with a charged topic. Wounded, disfigured, masked, or strangely ironic, the figurines embody narratives of pain, suffering, and hypocrisy that resonate with the viewer on uncomfortable and visceral levels. Porcelain dolls are usually treated as the coveted relics of a sensitive, “non-violent” culture, locked away in a glass case as objects of delicacy and curiosity. The fact that they are blooded, armed for war, or marked for plastic surgery creates an incongruity that subversively transforms the figurines’ object-status into social, political critiques.

Byrne’s exhibition list is impressive, including the The Fine Art Society in London and Fehily Contemporary in Melbourne. Her new work “Hurt Locker,” an armored figurine made of Murano glass and mild steel, is currently being shown at the Venice Biennale exhibition GLASSTRESS, which runs until November 22nd, 2015. (Via Sweet Station)

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Edo Bertoglio’s Polaroids Of A Debaucherous Downtown NYC During The 1980’s Featuring Madonna, Warhol And Basquiat

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Photographer Edo Bertoglio was a pioneer of his time. He became involved in the scene in downtown New York in the 80s during a time of energy, creativity and luxury, and captured intimate moments of celebrities, art stars and night owls involved in that scene. His new book New York Polaroids 1976-1989 is a collection of those times and showcases a candid side to many people not rarely seen, and used the Polaroid camera in a way not commonly used. Bertoglio frequented clubs like CBGB and Studio 54, and snapped images of Andy Warhol, Jean-Michel Basquiat, Grace Jones, Debbie Harry and Madonna. In fact, one image that Bertoglio had taken of Madonna was meant to be the cover for her Like A Virgin record, until the producers had a change of heart at the last moment.

He used the Polaroid SX70 because it was a portable, durable, instant camera, and meant that Bertoglio could easily travel at his will – from vacations to Greece or Porto Rico, to spontaneous motorcycle trips to Staten Island – and take photos easily. The native Swiss photographer has exploited the characteristics of the polaroid camera and used them as stylistic nuances. Blurs, light flares, and unexpected color spots become a feature of his work.

He infuses many of his polaroids with a distinctive pop quality, hyper-real, pre-digital, playing with an unmistakable intertwining of silhouettes and intense, lively, counterposed tones, faded mono- chrome atmospheres, clear-cut juxtapositions of subjects, forms and colors, close-ups and backgrounds. He has synthesized the narcissistic and decadent hue of his time.

His book is available to purchase here at Yard Press.

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