According to his website, the street artist OakOak “is a French artist who likes to play with urban elements”. Using simple means and materials, OakOak undermines his neighborhood with playful results. He uses a minimal amount of actual original artwork, instead re-purposing signs, facades, cement blocks, chipping paint, and more. OakOak transforms a neighborhood’s imperfections into its own adornments. He says of his interventions:
“The less I intervene on the wall or the road, the better, especially if I can totally change the sense of the urban environment” [via]
Eddie Martinez,Untitled 2012 Oil and spray paint on paper, 10" x 7"
Arches and Rembrandt, leading fine art material manufacturers, present Against the Grain, a one-night art auction to raise grant funds for one Los Angeles-based student artist. With more than fifty participating artists, Against the Grain will feature works on paper that showcase diversified studio practices through a shared medium. Unlike any other charity arts auction, Against the Grain pioneers an artist community-based project in direct support of the next generation of emerging artists.
From the frenzied tableaus of Eddie Martinez to the illusory oils of Annie Lapin, the works donated to Against the Grain will have a humble starting bid of $100. Each participating artist will be provided with newly developed archival paper by Arches paper mill (France) that does not require gesso before painting with oil colors, a key advancement for the painting practice. Additionally, the artists will be given a selection of the finest quality Rembrandt oil colors from Dutch color maker, Royal Talens. Additional sponsorship of gift certificates and cash awards will be provided by local participating fine art stores, announced the night of the event.
Local curatorial entity, 5790projects, and curator Amir H. Fallah will select one student artist from a surrounding university to award funds raised from the silent auction– a grant that can be used for studio practice, tuition, or supplies. A pool of student artists will be nominated by each participating university’s Studio Art faculty, each of which will receive a studio visit from event producers 5790projects and Fallah in order to determine the prizewinner. The grant recipient will be announced at the close of the event on August 25th, 2012 at the sponsoring venue, Mark Moore Gallery (Culver City, CA).
The opening reception will also feature live DJ sets, food trucks, and beer tasting by Brouwerij West. Event tickets are $10 – and can be purchased at the link below.
See more preview images of work on auction after the jump!
NYC-based artist Julie Evans creates these floating abstractions out of water-based paints on mylar (plastic sheeting). She lets the colors pool in bright puddles, cuts out individual sections, and collages them together to create new, but organic, shapes. Occasionally, soft pencil marks are added to form edges and shadows. Her creations look like something out of biology class; a cross section of a plant, a fragment of a mineral, or a grouping of cells. Though these collages are fabricated by hand, each piece looks like it came straight out of the natural world. Evans is currently displaying her work at the John Davis Gallery in Hudson, NY.
A straight acid trip. Broken Fingaz Crew has captured the eye with their vibrant, colorful, in your face artwork. Infused with artful humor, I chuckled at some pieces as my eyes were immersed in this cauldron of comic book style color. “Our dreams are your nightmares”; a tagline that speaks volumes about their work.
Dutch artist Henriëtte van ’t Hoog’s installations look 3D, but are completely flat. She uses trompe l’oeil to give her work depth, designing space in a way so that our eye is fooled. To do so, she uses geometry and specifically placed and angled shapes, sometimes building out of the wall to create more complex structures. In an interview with Visual Discrepancies, van ’t Hoog describes why she makes her work. Not surprisingly, her explanation is light-hearted. She states:
…I have been poking around for a while hoping to make people aware of color and shape, and of non-existing space. In Joint I [above] transformed a little area into something new and unexpected, joking around with color and shape while not knowing where it would lead – just having fun, and working through ways that would perhaps mislead the audience.
van ’t Hoog’s color palette is light and very colorful, at times sickeningly so. She regularly uses day glo yellow and hot pinks, which vibrate against one another in industrial spaces and white walls of a gallery. Her installations are based on believability, meaning they must be precise; She paints crisp lines and plans the angles of extra walls and surfaces so that her work appears 3D at all viewpoints. Even though there is a lot of planning involved, van ’t Hoog wants to make it look effortless. It’s important to her that the viewer see something unexpected. Later with Visual Discrepancies, she says:
…I hope when people step inside this small space and see the play with the flat and the three-dimensional, the play with the perspective and the triangular objects and how a painted piece of paper is disturbing their expectation, together with the strength of the color, that their experience will hit the roof.
Bay Area-based printmaker Amber Fawn Keig‘s works on paper are a collection of colored pencil, gouache and lithographic prints—pulled together under the cohesive investigation of memory. The likenesses scratched out in her careful, stylistic black-and-white prints have the visually-loaded tinge of early 1990’s Americana. Keig usually works with imagery of her friends and family to create these works, although the narratives expressed are somewhat vague and seemingly fictional.
If anything, the litho prints pull the viewer in for a moment of intense technical examination, to look closely at Keig’s tiny, expert strokes, and to take in her careful thematic twists and turns, often embedded in the layered images she pulls together. While the black-and-white works stand well on their own, they’re complimented perfectly by the fluid, intuitive colorwork of her painted and pencil-drawn works. THe moments where the two mediums intersect are the most interesting, but each part of Keig’s current series seems to feed well into the same conceptual vein. While the scale is small, the subject matter is quite curious, and these works carry a kind of welcome, yet weary hominess in their portrayal of contemporary American experience.
Georgia Russell is a Scottish artist who slashes, cuts and dissects printed matter, transforming books, music scores, maps, newspapers and photographs into patterned abstractions that leave a resemblance of the original but transport it to another time and place where everything is fragmented, and always in flux.