I couldn’t find much about Dutch artist Eduard Bezembinder‘s work (most likely due to a language barrier and a seemingly sparse but fun website), but his Flickr page is full of interesting painting, drawing, graphic design, and collage art. Additionally, his Saatchi profile claims he is “one of the first art bloggers.” I love these particular collages because the image integration is nearly seamless, which increases the absurdity to be found in these juxtapositions. Heavily featuring a mix of mythical, classical, and pop culture elements that represent interactions between the animal and the human, these collages are both nostalgic and humorous. (via feru leru)
Everyone has a different perception of the city, to some it might feel luxurious and culturally rich, to others it might appear to be dirty and smelly, and to many natives, including Chicago based artist Clarissa Bonet, the city is this somber, anonymous, and emotionally charged space.
Bonet’s acclaimed on-going series, City Space, captures her personal perception of the urban landscape and its relationship to the ones that inhabit it.
“The Urban space is striking. Its tall and mysterious building, crowds of anonymous people, and endless seas of concrete constantly intrigue me,” the artist says.
Her images are reconstructions of her perceptions/past experiences in the cityscape. Some may seem overly dramatic- as her play with lights and darks and muted colors, as she mentions in her artist statement on her website, are both visual strategies she is interested in working with.
On her artist statement, she also mentions that she reconstructs “the city as a stage to transform the physical space into a psychological one. The images […] do not represent a commonality of experience but instead prove a personal interpretation of the urban landscape.”
One of the most interesting elements in this body of work is her ability to transfer what would seem to be a mundane act on the streets to a scene that speaks of the human psyche, and emotion in general. Her subjects, most with their head down or covered, seem to purposely appear anonymous, giving the viewer a sense of them not being there, as they blend with the rest of the composition. Could this be cultural commentary/criticism on behalf of the artist? That is not out of the question, as these powerful and somber, yet beautiful images do make the viewer question contemporary living in the cityscape.
Premiere website builder Made With Color and Beautiful/Decay have teamed up yet again to bring you exclusive artist features. Each week we join forces to bring you some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek websites. Website builder Made With Color doesn’t just help artists create minimal and mobile/tablet responsive websites but allows them to do so in a few minutes without having to touch a line of code.This week we are happy to share the work of talented painter Marie Irmgard.
Berlin based artist Marie Irmgard’s paintings are a dizzying swirl of gesture, form, and abstraction. Each painting is suspended in a state between abstraction and depiction, ever fluctuating between now-you-see-it, now-you-don’t. Both the subject matter and the method of the paintings contains the tensions of contradiction – the paintings are created in an madman’s spontaneous loss of control and at the same time the precise brushstrokes and compositions shows extreme control.
There is something violent and dangerous about Irmgard’s paintings – her still-life flower paintings is in the borderline of beauty, death and decay and fluctuates between the repulsive and the seductive, objects decaying into abstraction.
Irmgard’s source material is combining history and story; autobiographical reminisces are put alongside with present day commercials. Pieces of a Delacroix painting are transformed into turbulent layers and swirls in a contradicting combination of eloquence and clumsiness. She uses trash form her studio, organic waste, broken mechanical objects to create a hybrid iconography that is full of melancholy but also hope. Irmgard uses acrylic and ink and will often leave her work in big jugs or bathtubs – so that both the wooden frame and the canvas are soaked in paint-water. Up to the point where both the wood and the cloth is almost decomposing – she will experiment in just how worn and ugly can you make a piece and still save it – how much can you kill a painting and still bring it back to life.
Melissa Godoy-Nieto is a multidisciplinary Mexican artist and designer based in Brooklyn, NY. Born in Tijuana, Mexico, Godoy-Nieto incorporates pre-hispanic history, art and hieroglyphics with traditional crafts and materials that she uses in untraditional ways. For her installation at SPRING/BREAK art fair earlier this year Godoy-Nieto painted the inside of a closet with a bright mix of mystical South American imagery, focusing partly on life, and partly on death. Though she references the vibrant palate, dynamic and hand crafted aesthetic of Mexican culture, her works employ unusual techniques and structures, making the final product relevant and contemporary.
Her “textiles,” which she refers to as paintings, incorporate imagery from traditional Mexican imagery and patterns, but are made with untraditional materials. Taking the concept a step further, Godoy-Nieto will sometimes link her paintings to spray paint cans using hand-dyed yarn and pushpins. Describing the works as “experimental murals,” Godoy-Nieto toys with a viewer’s sense of how the work was made; conventional imagery is presented as being created in an unconventional way. Initially, a viewer might believe the work is made with spray paint, but then he realizes the spray paint is yarn and had nothing to do with forming the actual image. By challenging expectation and altering dimension, Godoy-Nieto’s process directs the way in which a viewer might interact with or perceive the work, and thus the way he might consider traditional iconography within a contemporary context.
For his series, “The Architecture of Density,” German photographer Michael Wolf captures the intense suffocating density of the city of Hong Kong. The framing of the buildings and apartment units creates a flattened, patterned image with details of individual residencies apparent only on closer inspection. The result is an abstraction that gives the appearance of infinity, as if these incredibly compact and dense structures never end. Hong Kong is one of the most densely populated metropolitan areas in the world, with an overall density of around 6,700 people per square kilometer, a fact you may recall from a previously featured photography series of the city’s cramped slums.
Wolf’s work is primarily concerned with urban landscapes and places, not always in such an objective, distanced manner. His series, Tokyo Compression, captures Tokyo subway users’ faces pressed up onto the glass of the subway car, a result of the overcrowding of this form of transportation. No matter the proximity to his subjects, Wolf offers a new perspective on the movement and energy of city life in his documentation of its density. (via curious history)
You know those silica gel packets? The kind you find in a new pair of shoes or in a coat pocket? As a kid, Amy Santoferraro used to collect them as if they were something precious. She would organize and catalog them, which was a sign of things to come. Today, collecting is the heart of Santoferraro’s sculptural work.
Some interests never die; they just find new ways to reinvent themselves in our lives. Just as Santoferraro coveted tiny packets of poison as a child, as an adult she’s amassed objects that would usually be discarded. She has built a body of work around something that’s her natural inclination. From her artist statement:
Like every toddler, I play with what I am given. Fascinated by numbers, colors, objects, and shiny things, I rowdily rummage through thrift stores and flea markets like toy boxes tearing through objects whose usefulness has been exhausted and awaits deliverance to a new imagined life.
Santoferraro’s series, BaskeTREE, uses cheap, everyday items and transforms them into small landscapes and scenes. She hand picks objects that resonate with her, either because of nostalgia, beauty, or usefulness. She tinkers with them until the sculpture feels right. The result is a transformation and change of context. Because these cheap items went from being discarded (one man’s trash is truly another’s treasure here), and placed in the realm of art object, their perceived value is much greater. These assemblages now exist on a higher level of craft and concept than just a plastic flower, basket, and fly swatter has individually.
Santoferraro describes her work as “silly connections that develop from my making and thought processes.” That’s part of the appeal; they might remind us of childhood. Even if they don’t, the parts of the sculpture reveal a lot about socioeconomic status, and about how and where we grew up. The sum of each sculpture is not only a playful scene, but a snapshot of a society.
Leland Bobbé, a New York based photographer, has compiled a series of stunning and complex images that further examine the drag queen persona, what it consist of, its controversies, and multifaceted physical aspects.His ongoing project, ‘Half-Drag . . . A Different Kind of Beauty’, has made a huge impact. Consequently, landing the photographer several awards and features in international art fairs.
The collection provides the viewer with an interesting perspective. These photographs, composed and stylized through the power of hair and makeup, are captured in one snap, and are not digitally composed- which is a lot to take on, knowing that the process could have been much easier having used Photoshop or other editing programs.
I think that Bobbé artistic choices say a lot about the points he is trying to convey with this collection of images. Moreover, there would only be this much vulnerability and honesty if the images were captured this way, and in this way only. Having his sitters pose with their two identities up-front and exposed is one hell of a statement. The sincerity, humble approach of the photographer and sitter alike, lets us in on the queens’ little secret and questions gender constructs, current law, human right initiatives and the possible lack-there-of.
Barcelona based artist Sergio Albiac creates these abstract portraits by writing computer programs that generate images, always including code that will randomly generate some aspect of the results. Through this medium of expression, Albiac has found a captivating balance of control and randomness, such as the portraits of Rimbaud and Neruda created from their words and signatures.
Albiac explains his process, “When I code a generative sketch, I introduce control (the sentences that govern the sketching action) and also a degree of randomness in the code. This is a machine control/randomness balance. Then, I select certain outputs (again, human control) and I paint a canvas using the selected generative images as an starting point, without the aim of exact reproduction. The act of painting is a struggle between control and randomness because, depending of the painting technique, paint behavior cannot be totally controlled by the painter. In this way, I explore a fascinating “dialogue” between control/randomness and machine/human interaction. It makes sense to me. I feel connected to artistic tradition but using the generative sketchbook process, I can create in a very contemporary and innovative way that deeply reflects the ideas I need to express.”