Art director, designer, and photographer Francois Prost captures the exteriors of french night clubs in his series After Party. There’s a twist to these straightforward compositions, and it’s that they are all pictures taken the in the daylight, where the glitz is non-existent. It’s safe to say that they are significantly less impressive places in the afternoon. Instead of of neon lights and gaggles of beautiful people, they are abandoned-looking, desolate buildings that show their age.
We see a lot of faux features at these clubs, like fake palm trees, sphinxes, and even an Acropolis. It’s all meant to create a fantasy and make the guests feel like they’ve been transported from their normal lives and into some glamorous one. Of course, without the aid of the dark and flashing lights, the buildings are dilapidated and out of place. If you’re a club goer, it’s probably best to avoid them during work hours to preserve their intended effect. (Via It’s Nice That)
Martin Klimas is no stranger to meticulously timed photography. From his speaker-induced dancing paint splatters to his shattered blooms and vases, Klimas’ work captures moments in time that record a disruption of order. Klimas’ porcelain action figures are dropped from a height of about 10 feet, and it’s the sound of the figurines crashing that triggers the high-speed camera’s shutter release. This methodology results in images that represent a temporary, dynamic moment in time that becomes a permanent, static image through the art of photography. Klimas’ figurines appear to be engaged in aggresive battle, each shattering figure creating a narrative made possible from a singular image. Mid-destruction, these figurines convey a strong power and energy that couldn’t be perceived pre- or post-destruction. (via juxtapoz)
South Korean artist Lila Jang is a sculptor who creates distorted effigies of traditional 18th-century French furniture. From bloated footstools to levitating wall lamps, Jang’s anthropomorphic furniture subverts upper-class affectations into warped Lewis Carroll-inspired imagery, evoking wonder and bewilderment in equal measure at the surreal shapes her furniture take on. Jang received her BFA in Sculpture from Honik University in her hometown of Seoul before moving to Paris to attend École Nationale Supérieure des Beaux-Arts for her MFA, and has since gained international acclaim through group shows and art fairs around the globe. According to Jang, her work is a representation of the current state of humanity, stuck “in the midpoint of that constant struggle between reality and the ideal.”
Jang drew inspiration for the series of fantasy furniture from the limitations she found within her cramped apartment in Paris, where tables and chairs only seemed to fit if they were bent out of shape first. The surreality behind the work is also inspired by Jang’s desire to break away from a quotidian routine, turning familiar, unremarkable furnishings into exceptional works of art. Although the pieces are gestural and whimsical in design, the true achievement of the work lies in its retention of the practical applications of the furniture. Even with the canapé climbing the wall, don’t you still want to curl up in it with a book? It’s all the same with Jang’s less functional pieces, such as the warped dining chairs: one can easily picture her pieces fitting right in at any number of houses built by contemporary architects. Jang’s most recent solo exhibition took place at the Centre Culturel de Coreen in Paris where she now lives, presumably in a larger apartment filled with her collection of fantastically anthropomorphic fittings.
When all else is gone, it is often the things we most take for granted that endure, like an old, torn t-shirt. For her collaboration with writer and actress Hanne Steen, photographer Carla Richmond collects intimate portraits of the brokenhearted, women wearing shirts left behind by ex-lovers. Hanging loosely about the contours of bodies they do not quite fit, the shirts and their wearers remain anonymous, their words recorded only in unending, stream-of-consciousness style poetry.
Alone in Richmond’s tight frame, against a simple and unembellished background, the women clutch at the forgotten fabric, hugging themselves and bracing against the intrusions of memories. The irresistible poignancy of the work lies in the inextricable nature of the banal or incidental with the profound and monumental. The shirts’ unexplained tears, accidental stains left by the passage of time, and obscure graphic lettering collide with mournful faces, eyes both resolute and pleading. These t-shirts, gifted by accident or on purpose, serve as the painfully insufficient evidence of great loves, irretrievable losses, and things unsaid.
At times, the shirts themselves become integrated into the very fabric of their wearer’s being. A woman wears a grey-blue shirt and dusts her eyelids with shadow of the same hue; similarly, a scarf or ring might match the color of a now-faded garment. As the only tangible remnants of something that exists no longer, the shirts become reminders of something in danger of being forgotten, a soft comfort that may be turned to in quiet, private moments. (via Feature Shoot)
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Talented French sculptor and restorer Alain Bellino creates extremely detailed, ornate bronze sculptures from metal leftovers. He transforms various old items such as cutlery or chandeliers by welding them into fascinating works of art.
Born in 1955, Bellino has been learning gold and silver plating and bronze restoration in his father’s workshop. Only in 2010, after years of practice and technical research, artist developed his personal style which was highly inspired by both Renaissance and steampunk. As described in his website:
“In his work of re-directing and re-assembling, which is both iconoclast and highly rigorous from a formal point of view, at the crossroads between past and future, Alain Bellino sublimates and rehabilitates the ornamentation.”
Various steampunk motifs and floral ornamented skulls are frequent objects in his work. Bellino’s vanitas are often infused with extra surrealism, for example castles and ships and mounting on top of skull sculptures. His latest work, the Darth Vader mask, demonstrates how delicately Bellino’s creations connect modern and antique worlds.
This unusual carnival certainly isn’t the kind you find at a kid’s party. For “Funland: Pleasures & Perils of the Erotic Fairground,” artistic duo Bompas & Parr show off a series of bold and whimsical installations at New York City’s Museum of Sex. Immersive artworks include “Jump for Joy,” a giant bouncy house composed of blow-up breasts and “Grope Mountain,” a rock wall featuring phalluses and vulvas. As visitors munch on tasty treats, they are invited into “The Tunnel of Love,” a maze that ultimately ends at the G-Spot, an erogenous zone in the vaginal canal discovered by Ernst Gräfenberg.
While this all may seem like fun and games, the exhibition also illustrates earnest cultural ideas. Here, the artists worked closely with Professor Vanessa Toulmin, the Director if the UK National Fairground Archive, to illustrate the historical associations between traveling fairgrounds and sexuality. Toulmin proposes that at the apex of the industrial revolution of the mid-19th century, carnivals began to emerge as sites for “immoral” behavior.
The St. Bartholomew fair, she notes, was singled out for its sensuous—and overtly erotic— atmosphere. In this uncanny universe of play and mischief, the puritan ideals of the upper classes were tossed to the wayside. The fast-paced amusement rides were quite the novelty at that time, and dark tunnels and cars allowed for discreet caresses to pass between lovers. Some fairgrounds even charged admittance for burlesque and strip-tease shows. Bompas & Parr’s “Funland” certainly captures both the thrilling and the farcical aspects of the carnival scene. Simultaneously amusing and disturbing, the exhibit engages both the mind and the body. The show is currently on view and will run through Spring 2015. (via Design Boom)
Oakland based artist Christopher Blackstock creates the ‘The Lone Stranger’ a series of illustrations that explore the life of an imagined character who finds himself experiencing the ultimate journey of self-discovery in a hallucinatory, post-apocalyptic remote desert area. The vibrant, cartoonish aesthetic puts emphasis on the surrealism of it all. Finding yourself in a desolated space can become lonely but exciting all at once.
According to the artist, the stranger, the recurring character, has experienced his fair share of tragedy and is now in search for answers, and maybe some sort of redemption through a spiritual quest. His tale, one of existential turmoil, redemption and self-discovery coincides with the collapse of the ecosystem as climate change reaches a more advanced stage and renders California completely arid.
Blackstock, a muiti-media artist who works in painting, sculpture and illustration, rendered these as digital drawings first and then turned them into laser-cut panels which were then placed onto canvas and hand-painted with acrylic and spray-paint.
Blackstock’s ‘The Lone Stranger’ will be on view at Oakland’s Loakal, starting July 4th through July 30th, 2014.