What exactly is happening in this photo? This clever “trick mat,” designed by A.P. Works, utilizes a simple tweak with a standard grid pattern to alter an otherwise ordinary placemat with the illustion that the items on it are causing the lines to sink into some sort of “mat world vortex”. What you see here is a protoype of the product, and it hasn’t yet been released on the markets but would make an excellent holiday present or housewarming gift. Or you can just leave it on your table at a dinner party and freak out your friends.
For 3 months of the year, Corey Arnold is a commercial fisherman. For the rest of the time he travels around Portland, Oregon and the surrounding areas photographing the wildlife in a very sincere and earnest way. Beginning his life at sea, he first worked as a deckhand on a crabbing vessel in Alaska in 1997, and from then started documenting his experiences in an on-going series called Fish-Work. In it, Arnold captures the lifestyle of the commercial fishing world, filled with images of men in neon colored rain jackets, bundles of ropes, dead bait, enormous waves, monstrous fish and hoards of birds.
In his new series though, he has concentrated just on animals and their personalities. The exhibition Wildlife is as unpretentious as it sounds. Arnold has been able to become quite intimate with his subjects, capturing bears, birds, seals, sharks, and moose all in a relaxed, natural state. Spliced with images, once again, from the fishing world, we get a good idea of how seamlessly Arnold fits into his environment. It seems the animals caught on camera don’t notice the presence of this human one bit. The artist reflects on his obsession with the wilderness and also his ability to go unnoticed within it:
I harbored a deep desire to be an animal living in nature and I didn’t have far to travel. The lush gully in my backyard, just out of sight beyond a thicket of poison oak, was home to coyotes, raccoons, possums, stray pets, snakes, lizards, rats and crawdads. Any bustling in the bushes was a potential mystery to unravel or a prey to stalk. I was a particularly curious child, an amateur wildlife tracker, behaviorist and hunter who often pressed the boundaries of human/wild animal proximity. (Source) (Via Super Sonic)
Romanian illustrator Aitch creates colorful images that are ripe with magentas, turquoises, electric yellows, and more. But, don’t let those bright pigments confuse you. While cheerful, there are some macabre moments that add an intriguing element to her detailed paintings.
Aitch is inspired by her travels, naturalistic illustrations, naive art, and folklore from around the world. You definitely get the sense of this through her series like The Garden of Good and Evil and Alice’s Adventures in Wonderland. Both, as you might guess, are the retelling of stories – original sin and the C.S. Lewis tale, respectively – but through her own imagery and voice. Here, full-sized women with an array of unusual tattoos interact with the psychedelic landscape and a cast of fantastical creatures.
The same women appear throughout Aitch’s work in other series like Coffins. Here, it’s much like it sounds – we see decorative coffins, people buried underground, and a meditation on what happens after we’re gone. Her style lends itself to a more lighthearted, beautiful depiction of death and a return to nature where we’re wrapped up in gorgeous vines and flowers.
Brooklyn artist Monica Cook is a woman of many talents, with multiple personalities and identities. She loves to explore the revolting, disgusting side of being human that we often try to hide. The range of her art practice is broad, and includes grotesque hairy sculptures, to highly detailed bizarre animations, meticulous drawings of naked women in surreal settings and beautifully rich oil paintings of slippery and slimy intimate scenes. Cook says all that she produces is in some way a representation of her, a kind of self portrait, or an attempt to digest the things about her that she doesn’t understand.
“When I’m painting, it’s more about my relationship with the object than it is about me. It’s hard for me to separate myself from the experience. It could be a fish or an octopus. I handle it until it becomes unfamiliar to me so I can see it in a new way. People might want to read into those paintings but for me, it’s just about finding magic in the mundane and exploring further.” (Source)
Her drawings are combinations of miniature versions of herself acting out strange activities on large body/landscapes. Her work usually explores the range of human emotions, including anything from girls on laughing gas in the middle of a doctor’s examination or celebrating some personal triumph while riding a balloon. Cook is able to exaggerate the awkwardness of being human, and how gross and disgusting it can be to live with flesh and bones.
“I can be extremely awkward, yes. I can be really shy, too. I put myself in a position where I am really uncomfortable interacting with something, and work with it until I become comfortable with it, and capture that private moment of surrender or acceptance. It’s all about private performance, and amplifying the absurdity of a situation – and making myself laugh.” (Source) (Via Juxtapoz)
Miami-born but aptly based in both New York City and Venice, artist Judi Harvest creates intricate and fanciful glass sculptures. Ranging from gnarled bears to purple martians, her work varies in both subject matter and style. However, since 2013, Harvest has paid special attention to the natural realm, creating delicate and wispy glass beehives.
Comprised of Murano glass and wire, each hive sculpture is naturalistic in color and realistically rendered. Like the pieces themselves, the process behind the work is extremely intricate and requires a great deal of skill:
Each vessel begins with a hand-rolled cylinder of chicken wire, wire found in Venice and characterized by a finer module than that of the hive sculptures made in New York. Glass is blown into the cylinder, protrudes between the wires, and balloons delicately above the top. Some vessels retain wire embedded in their surfaces. Amber glass is the base color in which Harvest mixes gold or silver leaf and other additives that affect opacity, reflectivity, and hue. Sprinkling the hot surface with powdered glass pigment and reinserting the vessel into the furnace creates a rough yet dainty texture that resembles a dusting of pollen. (Denatured: Honeybees + Murano catalogue, Venice, 2013)
In addition to the exquisite aesthetic of the sculptures, a personal interest in honeybees also contributed to the creation of this series. On top of her artistic career, Harvest is a beekeeper, finding inspiration “in the form and behavior of the honeybee, the hexagonal wax cells of the honeycomb, and the rounded volume of hives in nature”—influences that are undeniably present in the ornate detail and beautiful composition present in her Bee Series. (Via Sweet Station)
Canadian artist Erin Loree crafts luscious abstract paintings that have an incredible sense of light. The vibrant pictures feature incredible blues, magentas, yellows, and many more spread over a canvas. Loree varies her approach to texture, with some areas of smoothly-applied paint and others with short, thick brush strokes. They work together and form alluring artworks that resemble portraits and at times, landscapes.
Considering the scale of Loree’s strokes, the subjects that she’s painted seem to be captured at a close range. Large, sweeping lines form vague outlines of heads and shoulders, and with names like Energy body, it’s hard not to associate them with that. But, instead of giving us the an idea of what this physical body looks like, Loree uses gesture and intense hues to communicate an inner spirit or feeling. Some of her works appear as if they’re glowing from within - the essence of an intrinsic light that exists inside living beings.
Photographer Ines Kozic captures modern fairy tales decorated with bone and hair. The mood is contemplative, with a subtler flavor of body horror as her fair-haired women spin their hair into thick braids and pose with ruby-red lips and a court of insects. There’s also a sense of playfulness: a woman painting with her hair in an Escheresque exercise of physics; a man’s beard woven into a basket.
According to her artist’s statement, Kozic’s work is “a reflection on the body’s ornamentation, post-mortem photography and fairy tales’s world.” Her inspiration from photography of the recently deceased in repose is especially clear in the photos where her subjects wear garlands of delicate bone.
The ever-present sense of solitude in her photography make it seem as though everyone is frozen in time. The result is an unsettling mix of beauty and the kind of disquieting daydreams that one might find in a languishing surburbia. Her subjects perform everyday chores — sewing, weaving — but with surreal objects, bedecking themselves with beetles instead of jewels.
If, as Kozic says, she’s searching for “macabre poetry,” then she’s certainly found it. (via Yatzer)
The visual world of Daniel Gordon is complex, colorful, wondrous, and invigorating. He creates rich modern interpretations of still life and portrait oil paintings. Inspired by Matisse and Fauvism, and using modern day technology, he takes compelling photographs of 2D and 3D objects. His practice involves multiple steps to reach these bizarre final images. First he sources different images from the internet, prints them out, rebuilds the object from 2D sheets of paper, crumpling and shaping them to resemble the original object, then finally photographs them using a 8×10-inch view camera. After the scene has been documented, Gordon dismantles the different images and patterned pieces, to use at a later date. His latest show Shadows, Patterns, Pears shows his familiarity with appropriation, reusing and contextualizing images with ease.
He builds compositions from fragmented patterns, colors, perspectives, histories and narratives, resulting in some strange surreal reality. He layers up repeating shapes and silhouettes, creating some sort of modern take on Cubism. Described as a kind of analog Photoshop, Gordon’s work is as equally confusing as it is delightful. Reworking something familiar such as nectarines, oranges, lemons, he turns them into an optical illusion of light where dark should be, shadows on the wrong side of the object, the fruit half blue and half red. He transforms a mundane apple into one from a Dr Seuss land – crumpled, purple, with two stalks.
Calling his work “Screen Selections”, Gordon is alluding to a time of visual over-stimulation in the age of the Internet. Reveling in working with materials so palpable and tactile, Gordon says:
“I’m interested in showing my hand and letting people see the imperfection. “(Source)