Ella & Pitr are offering the world another version of their art. At a smaller scale, they hand draw and hand make lithographic prints. Always representing their signature characters in the style that defines them. With their ‘Only drawings’ pieces, they add another way to communicate with people, and offer the possibility for their fans to own a piece of their world.
In the video featured below this article, the duo is filmed in the process of making a lithographic print. Lithography is an ancient printing process which uses a stone or a metal plate with a smooth surface to produce paper prints. We watch them drawing together, synchronized and helping each other out. While one is drawing with a paintbrush, the other one is drawing with a nib. The illustration is carefully detailed and it takes the couple five hours to finish it. The characters remain the same approachable, poignant personalities facing life with fear and humour. This drawing called ‘Le Poids De Choses’ meaning the ‘The Weight Of Things’ is developed into a series. Each drawing is personalized, signed and annotated with a serial number; which makes each of them unique and singular.
From giant drawings on rooftops to smaller scaled illustrations, Ella & Pitr are demonstrating that they can appeal to any kind of viewers. They are always careful to go back to street art as it’s their original way to get attention and to create interaction with the public.
Dutch photographer Maurice Mikkers’ latest project “Imaginarium of Tears” shows that tears, much like snowflakes are all different. His series explores the magnificence of tears on both an aesthetic and molecular level. By placing tears under a microscope, he provides us with a close examination of crystallized tears in such a way that allows you to observe the different sections and patterns present within each tear. Mikkers’ series is based in his interest in tears from a scientific perspective and the way they are each composed of different elements and each have their own chemical structure.
His fascination for the individuality of tears I all the more interesting given the way in which he has chosen the tears to use for his project. Mikkers selected a group of his friends and asked them “what they would like to cry from”. He then gave them a selection of tear inducing activities such as cutting onions, looking into a fan, or eating hot peppers. He says he was highly interested in examining the ways in which each individual tear looks different when examined closely.
The process itself includes capturing the tears with a micropipette, placing them on a microscopic slide, and then letting them settle. The result of his project is a series of tears that are so meticulously different in all their details and, on a larger scale, a merging of science and art.
Felice Varini’s site-specific paintings will have you dizzy as they distort your reality by altering your perception. Depending on where you stand or how you look her work, it looks completely different. One moment you are standing in front of a spiral of bright oranges, if you move to a different angle, skewed and broken. Her public works are painted on beams of buildings, walls of galleries, windows, and much more. The artist incorporates the entire space that her work inhabits into clever optical illusions, manipulating your eye into seeing something amazing.
Her eye-popping, bold shapes and vivid colors that she uses in her works make it impossible to ignore if you are lucky enough to spot one. Each shape the artist creates is like a piece to a puzzle that only fits together at the right moment, forcing you to pay attention to your surroundings. Varini’s optic art demands that you slow down and take a second to enjoy all that is around you, including her incredible artwork. If you don’t, you may just walk right pass it, only catching hints of blues and reds where there should have been squares and triangles. Felice Varini, originally hailing from Switzerland, now lives and works in Paris where she installs many of her brilliant works. (via Ignant)
Half humans, half birds; Sarah Louise Davey’s ceramic sculptures are the symbol of emotional duality. She is blending a woman’s face with a beak and a feathered gaze. The eyes seem so real, they are preventing us from looking away. Insisting that we come closer and try to understand the meaning of it all. The other sculptures are hanging from leather cords and chains. Two arms ending with birds’ feet with rose metal claws. The arms and the faces are covered in wrinkles, leaving us wondering how old these creatures are, and if this is what will happen to us too. It will, in the artist’s imagination.
Looking at the sculptures, it feel like we’re entering the world of the wizard of oz meets the barnyard, fantasy meets reality. Isn’t it what we’re living daily? If we think about it, the result is far from being pretty and perhaps this is Sarah Louise Davey’s purpose. In order to reflect deeper on society, norms and beauty we need to stretch the limits of our understanding. When the artist exhibits those pieces, she is almost questioning if we, as individuals are not all freaks after all. Freaks that need to be analyzed and understood, because underneath the wrinkled skin and the animal features we each have a complicated unique soul giving us an infinity of possibilities. ‘At the heart of these works is the eternal push and pull of the spirit’.
The artwork of Andrew McAttee erupts from the canvas in an atomic explosion of vivid colors and bold lines. His compositions suck you in like a vortex of cosmic proportion. Like an explosion of atoms, asteroids, fire bolts, and lightning, McAttee’s dynamic, large-scale paintings catch your eye and demand your attention. Each painting is layered in acrylic paint and spray paint in incredible, bright colors. The artist mixes flat lines and shapes like that in a comic book, with a variety of more dimensional elements.
This repetitious explosion present in McAttee’s work hints at themes of cause and effect. Both beauty and destruction can be seen in the breathtaking palettes and the collisions of the color combinations. It is almost as if his painting are molecules ready to erupt. The artist’s comic-pop style combines the occasional action word such as “Smash!” straight across his compositions. He is very apparently influenced by comic books and graphic novels, and also pulls inspiration from pop art and abstract expressionism. Street art and graffiti also has a hand at play in his multifaceted paintings, as he is known as a street artist as “STET”. Andrew McAttee is represented by Stolen Space Gallery in London and works and lives in the UK.
”My aim is to provide the viewer with a colourful riot of gravity-less forms set in highly layered, seemingly endless space with a sense of ambiguity, humour and celebration”
– Andrew McAttee
Chris Haas is a Colorado-based artist who creates otherworldly skulls embellished with bright paints and flowing sculptural details. Among his ever-growing collection are various mystical creations, from ghostly green bears to devilish, silver-violet rams. Haas has even fashioned his own hybrids, such as a deer skull with mask-like detailing, a fierce beak, and keen incisors. Eyes like fiery orbs or dark obsidian pools peer from cavernous sockets, engaging the viewer with an eerie, beyond-the-grave vitality. In a final gothic-esque touch, each creature is displayed on ornate wall mounts.
Haas’ work is not your typical taxidermy; his is a project of passion and immense imagination. His studio—pictures of which can be seen on his Facebook—looks like it was transported out of a dark fantasy novel. His style is distinct, blending childlike dream imagery with the aura of the mythical undead. Instilling each skull with its own character, he renews them with life while also attending to the faces of death with respect, curiosity, and creativity. Visit Haas’ website, Facebook page, and Instagram to see more of his remarkable creations.
Do you know thousands of artists and designers who need to get some well deserved exposure? Do love writing about art and want an outlet? Do you want over a million monthly readers from around the world reading and hanging on your every word? Do you want to join Beautiful/Decay in our quest for all things groundbreaking and creative? If so then we have the perfect job for you!
Beautiful/Decay is looking for a few young writers who are looking to get their foot in the door and contribute to our daily blog. We are looking for smart writers in all corners of the globe who have their fingers on the pulse of the contemporary art and design world and want to join our group of art bloggers.
To apply send a few short writing samples (or links), 5 links to artists who you would like to write about and a cover letter about why you want to join the Beautiful/Decay contributor team to contactbd(at)beautifuldecay.com.
Writers must be able to commit to a minimum of five 300 word posts per week. This is a paid freelance position.
In a book titled Concrete & Sex, photographer Sasha Kurmaz juxtaposes nude figures against urban and industrial scenes of post-Soviet Kiev. At a first glance, the images may not seem to have a lot in common, other than the similar tones of concrete and skin. One side displays bleak horizons and the hard façades of cold and crumbling buildings; the other takes us inside, to candid moments of warmth, flesh, and bodily expression. By splicing these images together, however, Kurmaz masterfully shakes their emotional and political similarities into relief; both resonate with a sense of alienation and the vying for connection. Bodies (with their faces hidden) and buildings become landscapes of departed dreams, made and unmade again by the social and political conditions that shape them.
However, there is more than desolation in these juxtapositions. In comparing images of sex with devastated urban spaces, Concrete & Sex reverberates with a subtle resistance, a quiet protest against a system that strips the individual of power and evacuates life of meaning and beauty. The book’s description explores this further:
“On one hand, it’s impossible to ignore the political implications of this approach—as in so much of his output, one finds here the blunt advocacy of sex, vandalism, and, of course, artistic expression as meaningful responses to repressive conditions, and it doesn’t feel like a stretch to view this work, at least partially, as a comment on the status of the individual (whose identity within these pages is repeatedly [and tellingly] obscured by anonymity and/or physical distortion) within the broader mechanisms of public ideology and fading history.” (Source)
If the nude body can manifest its oppression and exploitation, it can also enact change. By moving, twisting, and contorting against architectures of despair, the figures in Kurmaz’s photos become enduring signifiers of life and self-expression within a deteriorating system.