Japanese illustrator Susumu Fukuzaki’s surreal and uncanny creations.
Japanese illustrator Susumu Fukuzaki’s surreal and uncanny creations.
Assume Vivid Astro Focus, an artist collective oozing in an overflow of psychedelic energy, has been making a name for themselves within the art scene since 2001. They have recently published a book that documents six years of their projects, which consists of a combination of multimedia installations and performance art.
Chen-Dao Lee paints highly stylized pop images that are a kind of Taiwanese version of a Quentin Tarantino neo-noir film. Painted in candyfloss pinks, reds and blues, his work borders on anime, or a kind of twisted superhero comic. His subjects are powerful women (and peculiar men) who have a cynicism, sexuality and also a sickly sweetness about them. Posed together, armed with guns and wearing frilly socks and high heels, or engaged in a semi-erotic masked wrestling fight, Lee’s characters are contemporary individuals, expressing the whole spectrum of emotions.
In his recent series, Lee has shifted from depicting a logical scenario in his paintings to focusing on the figures entanglement to describe emotions or relationships which are ambiguous, embarrassing or even helpless. Beautiful young women and fallen heroes frequently appear in Lee’s works as a symbol of the projection of modern people’s inner contradictions. (Source)
With titles like Cat fight – Love Kick, Boss, Not The Hero Type, Valentine, BFF, Lee embraces a kind of feminism with a dark sense of humor. He paints scenarios loaded with sexual innuendo, but instead of them being erotic, or about power plays, he focuses on ennui. The women (and men) show a lack of enthusiasm and engagement, but rather a nonchalance about what ever is going on around them.
His past series have included paintings of women guiltily carrying loads of fast food, indulgent night life scenes with money being tossed around, strange card nights, groups of men eating sushi off a blow-up doll, and overweight men with bad tan lines wearing cute costume masks. Lee is able to blend sarcasm, skepticism and empathy to create instant modern day classics. (Via Illusion Scene)
In deconstructing Barbie dolls and repurposing them as jewelry for “Plastic Bodies Series,” the designer Margaux Lange forces us to enter an uncomfortable space between disgust and worship of the iconic toy. Barbie, who has been a target of the last decades’ feminist debate, occupies an ambiguous role in the social and sexual development of girls; she exudes sexuality with her adult figure, but she also remains virginal, never revealing her nipples or genitalia.
Lange’s work powerfully evokes the girlhood tension between reverence and anger felt towards the doll and its conflicting representation of female eroticism. At its most practical, the art is a function of style; elevated to the status of precious jewels, Barbie’s eyes and breasts inspire nostalgia and desire. Yet the doll is so clearly dismembered, and therefore violently objectified, and her selfhood becomes reduced to a series of nearly identical body parts, arranged for your consumption.
Arguably, the most compelling of the works include Barbie’s male companion doll Ken. Although the dolls often serve as play actors for a child’s early exploration of sexual desire and experience, their plastic forms obscure and confuse concepts of intimacy. In isolating the dolls’ features, Lange is able to express more clearly-seen longings within the previously sterile dolls; they become fixated between metal filigrees, robbed of their eyes but permanently in contact with one another. In use, the relationship between the owner and the doll also reaches new levels of fetishistic fascination. In one pair of earrings, doll hands reach out to touch the curve of the human neck; a necklace allows a tiny pair of metal lungs, filled with the breath of Barbie and Ken, to lay atop the wearer’s own chest. Take a look. (via Margaux Lange and BUST)
For the artist Maria Raquel Cochez, her body is both her subject and medium; choosing to undergo and photograph 3 weight-loss surgery procedures, she catalogs a complex relationship with body image. For this series, titled “Life Performance,” and subsequent videos, paintings, and photographs, the artist courageously addresses the difficult ways in which women are expected to conform to physical ideals.
For “Life Performance,” Cochez relinquishes all control, surrendering both her body and her camera, leaving others to cut, transform, and document her as she undergoes a breast reconstruction and implant and gastric bypass. Each photograph poignantly blurs the line between performance and experience, boldly welcoming the public into a profoundly private emotional space.
Four years after “Life Performance,” Cochez presents “Belly,” a gorgeous video capturing the effects of surgery and life on her midsection. Seen floating in a full bathtub, her excess flesh is seen as touchingly soft yet powerful; isolated from the rest of her body, it seems to breathe independently, rising from the water and sinking back again. On the righthand side of the frame, a child plays with the female belly, innocently exploring the space that gave him life. He kneads it like bread, then strokes it carefully.
The work is painfully moving for the artist’s total surrender to her craft and audience; as viewers, we bear witness to her insides, to folds of her naked skin. For this reason, her impressive body of work seem less like an exploitation of the self than a miraculously intimate confessional. Despite their potentially painful content, her creations are strangely warm and generous; for example, in Life Performance No.1, romantic black and white images of her smiling face and her soft backside gently bookend the frighteningly colorful photographs of her surgery.
Ultimately, the work reads as a richly nuanced love letter to the human body, one to which all humans, regardless of experience, can relate. Take a look at Cochez’s paintings, videos, and photographs after the jump, including her uncomfortably, painfully seductive self-portraits of eating binges.
It is important to note that body dysmorphia—along with other mental- and eating-disorders—are much better covered by new healthcare legislature; especially with groundbreaking ACA regulations now taking effect. If you or a loved one are coping with such a disorder, please remember that there are options out there.
Adam Sorensen lives and works in Portland. His barren landscapes are litered with glowing mounds and vibrant streams set against dynamic skies. In his own words: “Landscape painting affords me a wealth of tradition and influence, and provides a platform that seems familiar and recognizable. 19th century romanticism, Japanese woodblock prints, and Abstract expressionism all factor into my works vocabulary. I work primarily in a reactive sense. A certain rock may lead to another, which in turn may lead to a specific tree. The scenes I end up composing, function as both utopian and eerily post-apocalyptic. Both of which can be seen metaphorically as social concerns in contemporary life. By inviting the viewer in visually, I ask them to recall where we have been, explore where we are now, and confront where we may be headed.”
Lets keep the posts about ornate & detailed drawings going today with the fantastical drawings of Louise Despont.