This incredibly detailed newspaper art or “lace newspapers” are the work of Canadian paper artist Myriam Dion. Using an Exacto knife and a surgeon’s precision, Dion creates intricate lacey shapes using existing text images from newspapers, cutting out white space and leaving some of the paper image in tact. The results are beautiful new images that have been completely transformed through Dion’s skilled paper cutting and fine attention to detail. She creates other deconstructive work, like her ornate burned photograph series.
Beautiful/Decay has partnered with premiere website building platform Made With Color to bring you exclusive artist features. Each week we join forces to bring you some of the most exciting artists and designers who use Made With Color to create their clean and sleek websites. Made With Color helps makers build their artists space on the web. Every Made With Color site comes with a built-in mobile site and is totally responsive for smart phones and tablets. This week we’re happy to bring you the work and website of photographer Morgynn Hanner.
Morgynn Hanner’s captivating black and white images are inspired by feminine beauty, the dark and strange, and eras long since past. Combining darkroom experiments and digital alterations, Hanner combines a variety of media from polaroids to large format photographs to create haunting yet delicate photographs of a cast of young girls who could be models in edgy european fashion magazines or teen girls up at night blasting loud music and playing pretend. The result is a unique glimpse into a larger narrative with no end about beauty, youth, freedom, and the unknown.
Tsherin Sherpa, born in Kathmandu Nepal, originally trained as a traditional Tibetan thangka painter with his father Master Urgen Dorje. From the age of twelve, he underwent six years of intensive training before travelling to Taiwan to study Mandarin and computer science. Since then he has returned to thangka painting but has added a contemporary twist to the traditional paintings leaving behind the traditional confines of the age old practice. His work now mixes the techniques and imagery of thangka with contemporary subject matter.
When asked about breaking from tradition Sherpa states:
“Sometimes if one gets too obsessed with the rules, there’s a danger of getting entangled in that very obsession. We then become more concerned about not breaking the rule. Because of that, from the traditional art’s point of view, the contemporary work with Buddhist imagery may even get categorized as sacriligious. I am working with some of the images that are viewed as the ultimate portrayal of certain deity. And to manipulate it, is obviously taboo.
However, if we scratch the layer a little deeper, and analyze these Buddhist images, one will find that they are a means to develop a practitioner’s (Buddhist) goal towards enlightenment, which means that the images are not the ultimate goal but rather a vehicle. A representation of a Buddha in 2- or 3-dimensional form is not the actual Buddha. It is a mere representation. And to fall into the trap of perceiving them to be the ultimate, is actually getting oneself entangled with the rules.”
It’s not everyday that you come across a giant submarine surfacing through the historic city streets of Milan. No this isn’t some bizarre new piece of technology gone wrong but in fact an incredibly elaborate installation that’s part of an elaborate marketing campaign imagined by advertising agency M&C Saatchi Milano for insurance group Europ Assistance IT as part of a new campaign called “Protect Your Life” which promotes the importance of safeguarding your possessions through insurance. This may seem a bit over the top to promote something as dull as insurance but this imaginative stunt surely stopped everyone in their tracks as they rushed through the city to work.
The installation also included a large scale performance complete with fireman and police officers rescuing the crew of the submarine. Watch footage from the performance in the short video above. (via designboom)
Vlad Tenu is an architect and designer based in London whose work is inspired by complex (yet minimal) naturally occurring patterns and spontaneous creation. In his structural series, Synthetic Nature, the Romanian-born artist explore how “the molecular behavior of soap bubbles informs the research method, which involves nature inspired algorithms and geometric constraints.” By utilizing organically-influenced repeating surfaces, which can be reshaped and added onto, his sculptural works could theoretically expand endlessly.
Resembling soap bubbles, honeycombs, seed pods, and other innumerable repeating and interconnecting shapes found in nature, the additive qualities of the work makes their shape completely adaptable, a final form which is limitless. The paradox of Synthetic Nature is that the process, materials and design is all aided or done entirely by computerized systems, thus removing the connection between the influence of organic happenstance and automatic construction. At the same time, the geometries and algorithms that create the work are repeating systems, obeying laws similar to those seen in nature itself.
Synthetic Nature (which is currently on display at London’s Surface_Gallery, through October 18th, 2013) fully explores this connection, parallel and paradox. Tenu, who often replies to the work as a ‘species’ (insinuating a type or categorization) uses more artistic methods, which he combines with his design and architecture background. The artist explains “Synthetic Nature is an instance of my explorative research into spatiality, scale and materiality; all with deep roots in my architectural background. The work has transcended those levels by creating artifacts that are interpretable and adaptable to anything from jewellery, fashion, product design and interiors, architecture to fine art. Algorithmic and geometrical concepts generate surface to volume morphologies that are blurring the boundaries between ‘inside’ and ‘outside’, between ‘solid’ and ‘transparent’ or between ‘natural’ and ‘synthetic’ – blended into abstract hybrid species.” (via design boom)
Photographer Tommy Kha, a 2013 graduate of Yale’s MFA program, will not kiss you back. In his project, Return to Sender, Kha documents himself receiving a kiss from strangers, friends, lovers, acquaintances, and not returning it. To what do we owe this visual pleasure and physical discomfort? These images of Kha’s bewildered, open eyes while his malleable body is taken, touched, and grabbed at another’s whim conjures up an amalgam of emotions, the least of which is our own discomfort.
Why? The photographer knows: “While my passive character mirrors stereotypes of the Asian men—almost always depicted as neutered, asexual, or submissive within media—it is my transgression as the photographer that undermines this passivity. Coupled with the other participants’ control over their own representation through their kiss, these images intend to question and confuse the role of the photographer and sitter, protagonist and supporting character, self-portrait and performance.” We recently found out more from Kha.
Why did you choose kissing as the method for self-portraiture as it is in effect here?
“I approach the picture making to explore desire, through intimacy, but it doesn’t necessarily look intimate in the photographs. It has to do with the desire to see oneself reflected. With kissing (on the lips), there’s something very expected about doing that act. I like to be surprised by photography since my work lies within the terrains of self-portrait, performance, and staged photography. Even in making these photographs, it’s not really about the kiss as an act itself but how each kiss is different.”
Liza Lou’s art making process seems a bit obsessive, to say the least. She first came on the art radar when she exhibited Kitchen (1991-96), at the New Museum of Contemporary Art. A 168 sq. ft. beaded “kitchen” that took five years to create and incorporated 30 million beads, Lou created the ultimate homage to the domestic. The space contained beaded walls, tables, cereal boxes, etc. –everything created from glass beads.
In 2002, at age 32, Lou was awarded the MacArthur “genius” award. In 2005 she founded a collective with Zulu artisans in KwaZulu-Natal, South Africa. Although she doesn’t incorporate specifically African beadwork tradition, she finds within it a commonality in the process of working with beads. Creating her works becomes a kind of meditation—the final products representing the impossibility of perfection—something Lou refers to as “the culpability of craft.”
Much less showy and, if not for the same medium, actually completely different, I am actually more drawn to Lou’s recent works. Minimalist and hauntingly beautiful, they appear to be Agnes Martin’s, or Ellsworth Kelly’s re-imagined as beaded canvases. And because of the beads there is a delicate, feminine sensibility to them. They walk the line between fine art and craft without needing to be one or the other. With them, Lou has fully embraced her method as meditation, placing process over content (although the final products are still pretty wonderful).
Michael Gaughan represents a new breed of hyper-creative talents whose work spans an absurd amount of media. Known for a variety of projects (including city-wide scavenger hunts, his chat-roulette in a mock-dorm room rapping identity Ice Rod, and for renting out his apartment for couples needing a romantic getaway on Valentine’s Day), Gaughan creates with an almost child-like glee. Despite the playfulness in the work, however, there is a sophistication and consistency that separates it from most. This is particularly evident in his highly-technical watercolor paintings, where art-world in-jokes exist seamlessly with pop-culture rimshots. In an exclusive talk with Beautiful/Decay, Gaughan summarizes his motivations, ”Humor is not my main medium, but definitely a consistent theme in my life and my artwork. I think that putting yourself out there in a vulnerable way is really uncomfortable and nerve-racking. It is a lot easier to do things as a joke rather than take yourself seriously, and simultaneously I am equally motivated by the possibility of brightening up someone else’s day. I ultimately want to bring joy to other people.”
Gaughan’s work references “(art) history…obscenity, pop culture, absurdity, personal experiences, fears, feelings, misunderstandings, language, human experience, and creativity as well. Skate culture is great too!” When asked about the obvious amount of time spent on each work compared to the relatively short amount of time to elicit a humorous response (and if that adds to the joke), Gaughan responds, “Ha ha I hope so. It is also important to remember that punchlines can stay with you… Just because the audience can “get it” in seconds, doesn’t mean that they won’t revisit again it in their mind. I think art-work that takes longer to understand doesn’t necessarily mean that people will remember any longer than something that took only a second to get...”