Bright colors, playful compositions, clever type and some mad drawing skills are what makes Belgium digital artist & illustrator Bram Vanhaeren’s work so inviting. Bram has an impressive list of publications under his belt and he is also the mastermind behind Wallpaper.org; a forum for bringing artists together through the format of desktop wallpaper… give it a look!
This is a sponsored post by Michelin.
The French digital painter Lostfish creates an uncomfortable yet irresistibly alluring landscape of feminine powers; her bashful, pink-cheeked subjects reign supreme, adorned in precious jewels and sparkling crowns. The artist’s characters are abuzz with their own fertility, as expressed by bouncing nude breasts and lush flowers that seem to spring up from underfoot; also pictured are rabbits and eggs, symbols art historically associated with breeding and copulation.
The artist, influenced in part by 19th century art, works within a Victorian sensibility, reveling in an innocent, doll-like vision of femininity; her subjects, pale skinned and with impossibly delicate figures, become queens, armed with crowns and tridents. Lostfish’s female characters also seem pious, divine even; a few wear dismembered hands as jewelry, reminiscent of religious icons like the hand of God or the hand of Fatima. White flowers with yellow centers, often symbolic of the Virgin Mary in Christian art, stand in the place of youthful, milky nipples.
Yet within Lostfish’s ethereal and seductive images, there seems to linger an ominous supernatural strength within womankind. Where the Victorian woman is domestic and obedient, Lostfish’s heroines roam like wood nymphs, emboldened by their own reproductive powers; in one image depicting a human fetus within a pink oval, a foreboding reptilian creature seems to invade the womb, its grotesque navel in full view. In one painting, doll faces emerge in a group of six from blood red roses, reminiscent of biblical devil. These tempting, enchanting women dress in excess, giving themselves over to material pleasures. In Lostfish’s gorgeous imaginings the female is both delicate and demure, ravenous and dangerous. Take a look. (via HiFructose)
The sculptures of Naoko Ito are elegant in their simplicity. Indeed, these pieces are entirely constructed of only two materials: a tree and jars. A limb of a tree is cut into several segments and each segment, in turn, is placed in a jar. Naoko carefully arranges the jarred pieces to reconstruct the shape of the limb. A subdued commentary on the relationship between humans and nature, the imagery is immediate all the same. Though the shape and size of the tree limb is intact, the jarred branches are nearly gloomy.
Some nice photographs can be found on the Richard Kelly site. I personally like the above portraits best but a wide array of fashion and music photography can be found in his portfolio
The paintings of Victor Castillo have a unique eerie style. He began drawing from a young age inspired by cartoons, comics, and album covers. Castillo finally attended art school but found himself disillusioned with his time there. After leaving school he spent some time working with an experimental art collective in his native country of Chile. Next Castillo relocated to Barcelona, Spain. It is in Barcelona that his signature style solidified.
His painted world are most noticeably populated by children wearing clown-like masks: a red nose protrudes from a white face and any eyes are conspicuously absent. Though the masks smile, there is something disturbingly insincere about the expressions. Castillo carefully sets up each scene of his paintings almost as a sort of visual parable. A small narrative unfolds hinting at a larger message. Political themes such as greed or abuse of power begin to emerge within the symbolism of each piece. Castillo makes use of narrative tools often found not only in painting, but also comics. A statement from a past solo exhibit at the Jonathan Levine Gallery further explains the symbolism behind his paintings:
“In this exhibition, Castillo’s allegorical visions of the current socio-economic world crisis come in the form of spooky children’s tales. Through acrylic works on canvas and drawings on paper, his cast of masked, hollow-eyed children serve as a vehicle to convey ominous narratives of survival, greed and indoctrination. Inspired by vintage animation, his paintings are like theatrical sketches of tragicomic situations. With cartoon-like figures in the foreground and lush, classical landscapes in the background, Castillo’s dramatic baroque lighting completes the effect of exposing corrupted innocence.”
Raqib Shaw was born in Calcultta, India. He now lives in London where he graduated from Central St Martins School of Arts and based his house/studio in the South London neighborhood.
His work is mostly comprised of paintings. He uses a unique technique: he paints with a porcupine quill and car paint. Every motif is outlined in embossed gold, a technique similar to ‘cloisonné’ found in early Asian pottery, which is a source of inspiration.
The artist’s fantastical world is full of intricate details, rich colors, and jewel-like surfaces, masking an intense violent and sexual content. It’s an explosion of Western architecture (arches, columns, wall decorations), vibrant flora and unexpected animals that have human bodies (peacoks, ducks, roosters, reptiles).
The result from far is intoxicating; but as the viewer, you want to come closer and admire the beauty of the details. The paintings, which at first can feel overwhelming become fascinating in terms of color, shapes and harmony. Underneath the bizarre combinations of the figures, there is the celebration of a society free of moral restraint.
Raqib Shaw has added new paintings in this recent parisian exhibition. Three of them are self portraits, showing the artist in his house/studio. Although his own image never clearly appears, he made sure his favorite personal elements were recognizable: his dogs, views from his studio’s window, champagne bottles and his new bronze sculptures.
Raqib Shaw’s second solo exhibition is currently at the Thaddaeus Ropac Gallery in Paris, Marais location, until July 25th 2015.