Dale Dreiling takes inspiration from the everyday occurrences in Los Angeles, highlighting icons that are often overlooked, from street vendors and other characters, to liquor stores, swap meets, and catering trucks. Though his paintings bring color and focus to those images that go unnoticed, his subjects are often eerily faceless. Perhaps this is just for the sake of anonymity, or maybe Dreiling is attesting to the idea that we are not as different from others as we think.
Alexis Facca is a Belgium-based paper artist and set designer, known previously as Paper Donut. He recreates everyday objects in paper, which are used in both his personal work and commercial endeavors, including animation. Facca’s paper sculpting is successful on a number of levels – his attention to detail and craft, the formal aspects like color and composition, and its ability to amuse and delight us. His work is memorable, which is especially important when working with advertising clients.
In addition to paper, Facca has recently composed compositions that use other materials like popcorn and barbecue skewers. He also includes metal grates and wood blocks, too. His better known works, however, are objects recreated from paper. This means he has constructed filing cabinets, copy machines, and large potted plants. He has created life-size breakfast foods, too, including angular fruit, donuts and eggs. Yum!
Artist Francis Upritchard sculpts, paints, and conjures up different figures and artifacts. Alluding to different ancient tribes and cultures (Native American, Maori) Upritchard creates objects soaked in sentimentality. From wrapped mummies and robed shamans, to shrunken heads and mysteriously worn down relics, her objects belong to a time of tranquility, of sensitivity and purity.
Her effigies have painted faces, triangles woven into silken robes, draped scarves hang off their fragile frames. They often have strange markings and are accompanied by personal artifacts or offerings. These not-quite-humans hold up their hands, not in protest but in some sort of ritual. We seem to have stumbled in half way through a sacred process. Lunge, Archer, Sneaky – all these titles suggest a movement that is half way through completion. She says of her new figures:
I wanted them to be really close to Dungeons and Dragons figures. Fantasy alongside the sentimental, nostalgic and idealized – or perhaps I mean stylized. Almost like dolls.
Upritchard scours flea markets and second hand stores looking for vases, hockey sticks, cookie jars, anything that can be turned into some sort of relic. Using real teeth, human hair, silks, wood, and natural rubber from Brazil, boiled with different pigments, her work is immensely tactile, and immediately old.
Her work is a glimpse of a time that either has happened, is happening, or will be happening. It is an idea of a modern day Utopia, one of subtlety, and quiet power. This is the new Voodoo.
Mathieu Lefevre’s multidisciplinary practice, encompassing sculpture, painting, and photography use humor, irony and cynicism to test the fragility and the flexibility of the mediums he employs in his work.By seeking to rearrange and disrupt the relationships between viewer, creator, commodity and context his work raise questions as to what art can be, what it is worth and what is its role in a cultural and commercial framework.
Robbie Augspurger’s halo-framed, serious soft lit yearbook style photos of meta-mockingly universal avant-garde hipsters kind of look like every kid I went to art school with. Alone, meditative, satirically pleased in their undulous Alanis Morisette-induced irony, they hold symbols of their trade. Cheap beer, American Apparel headbands, bushy beards, outmoded key-tars, bad/good sunglasses (including post-op laser eye surgery senior citizen style & your weird Uncle’s shades) and Bill Cosby sweaters. You know the type. I can’t explain why simple headshots of people who look like extras in a Miranda July/Michael Cera movie, done in tasteful/tasteless late 80’s/early 90’s Kodachrome, are so endlessly amusing. But they are. Robie also does wedding portraiture. Fitting though, right?
Artist Ivan Puig likes for his work to surprise and amaze, and two of his series, Fed Up and Artificial Growth do just that. Using a car and chair, respectively, he gives the illusion that these very solid, massive objects have sunken into the ground, as if they are in quicksand. The preciseness of Puig’s work and the fact that he’s cut the chair backs and Volkswagen Beetle at a perfect angle add to the believability of it all. While the artist strives for his work to have humour, he wants the viewer to read it in multiple ways, and glean various metaphors from his playful execution.
His installations are not only meant to delight us, and the sinking chairs in Artificial Growth have a more serious message. This piece comments on educational doctrines and their power structures that are present in Mexico. With this series, he brings to light the idea of the artificial education – like the lies and half truths taught and passed down to students which we only realize are wrong many years later.
We just put up 50 copies of Beautiful/Decay Book:1 Supernaturalism on our online shop. We have a limited supply of these available for our shop so if you didn’t subscribe this will be one of the only ways to get the book. Enjoy!