Stockholm-based Anders Krisár is interested in exploring issues surrounding the human body. Employing realistic casts of body parts Krisár then modifies them. He imbues typical torsos, arms or faces with atypical assets and surreal qualities that are at once quiet and horrific, striking and bizarre.
Evoking a sense of how fragile the human body is, Krisár’s forms stir up feelings of discomfort. Unnatural, ridiculous and sometimes even violent, the sculptures are so successfully disturbing because they are so meticulously executed. Rendered exactly and simply—skin looks like skin, body parts almost appear to be moving and breathing— Krisár’s works are convincing. But at second glance there is always something distinctly wrong. Torsos are freakishly imprinted, headless or morphed. Bodies are severed, separated or broken. Krisár’s works thus become visual representations of the unfeasible. This un-reality gives the pieces a psychological edge.
Beyond the challenge of confronting the bizarre so perfectly portrayed Krisár incorporates ideas of splitting, mirroring and twinning, which are frequent themes in psychoanalysis. Erie yet captivating this psychological aspect gives Krisár’s work the ability to be emotional. Though the work has a quiet quality, its effects are powerful. A viewer’s sense of certainty is challenged and replaced with insecurity, question and an overall awareness that what we know only scratches the surface of what is possible.
Amanda Lear: previous male, current female, muse of Salvador Dali, multimillion selling Disco Queen three decades ago, subject of an incredibly long Wikipedia entry (yes, her official site is hosted on Tripod), feast for ironic art eyes, and just strange strange strange. Whenever I watch her videos I wonder “is this shit for real?”. But yeah. It is.
Aether & Hemera’s ‘Voyage’ installation consists of three hundred floating ‘paper boats’, encasing coloured dynamic LED lights that come alive at night in the Middle Dock.
The etymon of the word ‘voyage’ comes from Latin ’viāticum’, which means ’provision for travelling’, and the aim of the artwork is to allow viewers to travel and sail with absolute freedom to all the places they care to imagine.Colourful paper boats’ on the water invites everyone to make a transition from reality to imagination, reliving childhood memories and embracing our freedom; blurring the lines between the real and hyper-real, ‘Voyage’ invites the thoughts of the visitors to cross the borders of their imagination.
Voyage installation is designed to be an interactive experience; people can engage with it and impact on the behaviour of the lights from their mobile phone. (via)
Designer hailing from Romania explores typographic forms for ESPN Magazine’s X-games preview. I’m personally not into any sports (or just getting away from the keyboard my hands are grafted onto) but I’ll watch it if the intros looked this nice.
With the help of a huge swarm of flies, John Knuth transforms decay into creation. Flies have long symbolized death and rot in art as well as popular culture. In medieval times, for example, it was popularly believed flies were born out of carcasses rather than eggs as larvae. Knuth, though, emphasizes the flies productive role in the larger cycle of life and death. He creates his work by first feeding the flies water mixed with sugar and paint. The flies largely digest their food outside of their body, Knuth’s flies doing this directly on the canvas. While digesting, each fly leaves a small mark of pigment, a small piece of the larger record or the swarm. Check out the video to see Knuth’s process and more of his finished paintings.
Rachael Weitzman’s work would brighten up anyone’s home and add life to any art gallery. Her paintings are more like narratives, there is a story line behind it all. For example, in her “Helter Skelter” group of paintings, (not pictured), each piece holds in stasis an unfolding event. Often, the different speeds of the brush–slow, careful pointillism, or sweeping gestural marks– vie with each other and echo the struggle for containment within the painting.