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Jason Rood’s Bearded Monsters

I love Jason Rood’s illustrations and the way he incorporates his sense of humor into his work.  Especially his beard series; so tight!

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B/D Apparel Artist Interview: Yaiagift

Yaiagift

This week’s B/D Apparel artist interview features Yaiagift. Yaiagift contributed our “Bikes N’ Roses” shirt, which reinterprets the iconic Guns ‘n’ Roses album cover to give new meaning to today’s bike/fixed gear culture. His aesthetic mixes a broad range of influences, from underground comix, punk rock, skate culture and beyond. Yaiagift’s process apparently begins as a “really awful sketch” that “looks like if someone with no artistic skills made it.” Read on to find out how he transforms a work’s humble origins into a polished final product, and the one artist anyone who ever holds a pencil in their hand must check out! More images of Yaiagift’s personal work and design process after the jump.

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A World of Soft Fantasy in Damien Kamholtz’s Paintings

 

Australian artist Damien Kamholtz recently opened Boats Like Feathers, an exhibition of new works at Art House Gallery in Melbourne. From the gallery’s website:

Boats Like Feathers brings together the child and adult in a soft and vibrant world of narrative and metaphor evoked through Damien Kamholtz’s deeply layered and nostalgic work, rich with a story unique to each viewer if they are willing to take part in the journey.

More images after from the show after the jump, and you can check out a video of the artist in the studio here.

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Susanna Bauer Threads And Weaves Over Small Natural Objects

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“Most of my pieces are small sculptural objects often based on found natural materials. I like giving time to the inconspicuous things that surround us and often go unnoticed, paying attention to small details and the tactile quality of objects. Appropriating traditional craft techniques like weaving and crochet as a means of sculpture brings a contemplative element to the development of my work. I am interested in unusual combinations of materials, the experimentation with fragility and strength and the individual stories that evolve and shape themselves in the process of making.” – Susanna Bauer

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Lynda Benglis And 6 Contemporary Artists Sculpt With Paint

Lynda Benglis

Lynda Benglis

Lynda Benglis

Lynda Benglis

Laura Moriarty

Laura Moriarty

Margie Livingston

Margie Livingston

Lynda Benglis emerged decades ago as an artist breaking barriers and shifting paradigms.  Pouring neon paints in exhibition spaces served not only as an action on the figure of the artist, but while these pieces created installations, the poured paint was also viewed and handled by Benglis as an object, and preserved as such.  Years later her poured paint artworks are preserved and installed in their original format- which presents a transformative dynamic that the artist established.

Paint has historically been used to create imagery on a foundation- canvas, wood, paper, etc.  In this common format the paint becomes an object of art only after joined with a substrate.  Benglis was a forerunner in breaking away from this.  Today there are a number of artists pushing forward on this notion, and breaking away further in the development of their bodies of work.  Artists Linda Besemer, Margie Livingston, Ryan Peter Miller, Laura Moriarty, David Allan Peters and Leah Rosenberg all create works that demonstrate the vast spectrum with which paint as a medium has been torn from the substrate and presented conceptually and physically as a substance that can be molded.

Margie Livingston recently presented a new body of work in her solo exhibit “Objectified”at Luis De Jesus Gallery in Culver City.  Having spent years casting and sculpting paint, Livingston’s portfolio demonstrates an evolved investigation into forms and space, substance and the function of the object.  In her newest work she casts and sculpts acrylic paint alone into slabs that appear as wood planks, the patterning of hues reminiscent of wood grain.  The wood-like planks, sheets and stumps are then used in the formation of minimalist sculpture.

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Kitschy Ceramic Animals Grafted Into Cuddly, Creepy Frankenfurries

Debra Broz- Ceramic Sculpture Debra Broz- Ceramic Sculpture  Debra Broz- Ceramic SculptureDebra Broz- Ceramic Sculpture

Debra Broz, a ceramic artist in Los Angeles, has a dedication to manipulating the conventional ceramic animals used and loved for kitschy home decor. Through her art surgery, she forms nearly mythical renditions of hybrid-animals. Although they still look cute, there is something inherently off and relatively creepy about them. Starting by sourcing and finding old ceramic pieces she is attracted to, Broz then re-assembles and grafts parts and pieces of different ceramic sculptures together. Arms, legs, multiple heads- she tries it all. The doe-eyed Franken-furries still contain an element of innocent, their new freakishness framed with such subtlety that it is nearly camouflaged; for many viewers it takes a second glance to even notice that something is amiss within the structure and proportion.

Broz eloquently articulates her work in an interview, “The thing is, it all depends on perception. Though kitsch may act as if it is the antithesis of fine art, if you start trying to analyze it you run into many of the same complex issues you would if you were analyzing fine art. Personally, I enjoy the intellectual play that is part of analyzing objects. It seems funny to me that people desire to take content away from things rather than explore it. Part of what makes the world interesting is how complex it is, and I’d rather have the complexity, with all its difficulty, than a watered-down, idealized and simplified version. That is part of why I’m interested in kitsch. If you really start looking into it, it is just laden with references.” (Excerpt from Source)

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Erina Matsui’s Squished Face

I’m loving the bizarre perspective, goofy humor, and squished faced portraits by Erina Matusi.

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Atomic Bomb Tests Recreated in Fictional Photo Series

As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing  Alison Zavos’ piece on photographer Clay Lipsky.

“I was raised during the height of the Cold War, when the threat of nuclear war loomed between two superpowers. The dramatized depictions in TV and film of such an apocalyptic demise both intrigued and scared me as a child. Yet the actual historical record of the atomic age was full of antiquated, black and white images that seemed dated and a world away.

This series, Atomic Overlook, recontextualizes a legacy of atomic tests in order to keep the reality of our post-atomic era fresh and omnipresent. It also speaks to the current state of the world and the voyeuristic culture we live in.

Imagine if the advent of the atomic era occurred during today’s information age. Tourists would gather to view bomb tests, at the “safe” distances used in the 1950’s, and share the resulting cell phone photos online. Broadcast media would regurgitate such visual fodder ad nauseum, bringing new levels of desensitization.

The threat of atomic weapons is as great as ever, but it is a hidden specter. Nuclear proliferation has gained even more obscurity through the “rogue” factions that can now possess them. Meanwhile America’s stockpile of weapons continues to be modernized and will probably never cease to exist. I can only hope that mankind will never again suffer the wrath of such a destructive force, but it is clear that the world would not hesitate to watch.”

Clay Lipsky is a fine art photographer & graphic designer based in Los Angeles. His photos have been exhibited in various group shows, including those at the Annenberg Space for Photography, MOPLA, Pink Art Fair Seoul, PhotoPlace and Impossible Project NYC.

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