Imagine Lolita has joined the cast of The Walking Dead and found a meadow to hide in, and you will get Japanese artist Goto Atsuko’s incredible paintings. They are a mixture between something incredibly sweet and innocent, and something deadly poisonous that features only in nightmares. Her work features sullen, melancholic girls with large eyes and awkward features, and an overload of flowers, leaves, bees, butterflies, ribbons and bows. It’s like a cross between a Tim Burton animation, zombie profiling, and a child’s dark fairytale – all top of with a serving of strawberries and cream.
Compiled from cotton, glue, pigments, gum arabic and lapis lazuli, Atsuko uses both mundane and precious materials – again stressing the contrast between good and bad; naughty and nice. Atsuko’s paintings are a beautiful, haunting combination of childhood and adulthood, and how the two can exist together harmoniously. She shows us everything is not as simple as it seems, maybe that we all have a complicated persona – we are troubled one minute, and celebrating life with the animal kingdom the next. To see more profiles of her beautiful heavenly-devil-children-creatures, see her website here. (Via Booooooom)
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A man of many talents, Craig Redman is a New York based illustrator, typographer, pattern artist, installation artist, sculptor, animator, designer, and art director. A list worthy of comparison would be his equally long list of well-known clients, such as, MTV, Louis Vuitton, Nike, Apple, Vogue, Converse, and The New York Times. And this may be overkill, but Craig not only has exhibited in various parts of the world, but he also exhibited at the Louvre, Paris (every artist’s dream!)
While we have many reasons to envy Craig Redman, we can also take solace in the fact that all of his accomplishments are well deserved. Craig’s diverse talents are immediately visible in his vibrant, smart, and secretly optimistic work.
Just found out about Timothy Bergstrom, a young painting student at SAIC and one of the mighty Jose Lerma‘s students. I must say I approve. Big, awesome, weird paintings made out of lots of stuff like floss, glue, string, paper and paint, of course. Check it out!
Linda Ford’s drawings and collages were informed by hear early experiences of visiting the Worcester Insane Asylum where her father worked.
“My recent work is informed by Somatic therapies and BDSM practices. as well as other turn-the-century pseudosciences such as Phrenology. Early experiences of visiting the “Worcester Insane Asylum” (as it was called in the 1800’s) where my father worked during my childhood, as well as my own employment as a mental health counselor have had lasting affects on my preoccupation with bodies that transgress boundaries. Experiences with somatic therapies, which focus on mining bodily sensation in order to “release” traumatic experience, led me to research the early innovations of Wilhelm Reich. Reich proposed that mental states have a corresponding “physical attitude” that is expressed in the body as muscular rigidity or “body armor”. In his view, a response that begins in childhood as a defense against overwhelming anxiety or trauma can become an “emotional and physical straightjacket” in adulthood. By drawing on these disciplines, I am accessing the body as a sculptural object whose meaning and content is manifested in its skin, muscle and bone.
This work reconfigures the unified portrait, to investigate the fragmented nature of identity and self-knowledge. In the “Self-Discipline” charcoal drawings and their digitally dismantled and refashioned collages, I correlate female desire, monstrosity and excess. The family portrait collages, juxtapose turn-of-the-century photographs with hand-rendered self-portraiture elements, to merge contexts and time periods and explore the constricted body language of subjects uncomfortable in front of the camera and perhaps within their own skins. By creating “Composite Portraits” like those invented in 1881 by Francis Galton (the founder of eugenics) for the purpose of identifying physical, mental, and social deviance, I seek to excavate somatic inheritance as a tool for self-understanding. The play of outer and inner; surface and depth; what is hidden and what is revealed – is at the heart of my use of animal tissue as covering (armor/clothing/skin). The “Body Armor” series of altered fetish-wear, sutured from hog gut, identifies psychological/somatic accumulation in the body and fantasizes the ways in which internalized control, trauma and marginalization may be recuperated.”