Josh Keyes‘s new solo exhibition, Sprout, will be on display at the David B. Smith Gallery (located at 825 Santa Fe Drive), beginning May 30th through July 3rd. Presenting a series of new paintings with a focus on the theme of overgrowth, Sprout delves into Keyes’s vocabulary of imagery, intertwining animals and objects to create a simultaneously mysterious and unsettling juxtaposition between the natural and the manmade landscape. Keyes’s body of work conveys anxious and realistic visions of a possible future due to current global warming predictions.
Inspired by the futuristic animation of Katsuhiro Otomo‘s 1988 film, Akira, Gianmarco Magnani’s latest prints bring a third dimension to an otherwise flat medium. His two part series, “Silence Television”, draws from the linear style of traditional Japanese anime, and maintains a simliar graphic appeal. In his first set of four illustrations, entitled “Riders and Villains”, Magnani hoped to create a tension between good and bad in his riders. (As he pointed out, good without evil is just uninteresting). His second set, “The Forgotten Monarchy” marries a modern aesthetic with vestiges of the styles of 16th century European monarchies.
I’m more interested in Holton Rower’s process of creating these abstract paintings than the final result. Sure the end result is beautiful but you’ll see what I mean once you watch the process video after the jump. It’s a simple technique that packs a lot of punch!
Londoner Tyler Vipond’s work plays mostly with space and depth created out of formerly 2D surfaces. Bridging the space between sculpture and painting, his work leaves you with a feeling of tension and intricacy while still feeling almost effortless. I particularly love his series “A Collapse” whose pieces are almost reminiscent of deconstructed origami.
“Your childhoods belong to me now,” says the concept artist Dan LuVisi of his terrifying portraits of beloved cartoon characters turned grotesque and murderous. LuVisi’s chilling series, titled Popped Culture, holds a scathing mirror to Hollywood ethics, to the exploitation that goes on behind the scenes of even the most innocent movie productions. Accompanying each of his images on his blog, the artist, who has a background in comic books and has illustrated for DC’s Batman and Superman, includes short stories outlining Tigger and Goofy’s tragic path to corruption.
LuVisi’s spare text reads quite like a noir mystery novel, filled with darkened, moody diners and mugs of bitter coffee. The characters that we associate with our own youths age, hardened by years out of the limelight. The residents of Sesame Street are seemingly evicted, cast out into a generic urban cityscape simply called “THE STREET.” Seduced by industry executives, Kermit takes a role in a brutal adult film. Those who refuse to compromise themselves for the sake of the industry are defeated, as is the case with poor, piteous Gonzo.
The Disney cartoons fare worst of all, transformed from lovable animals into nightmarish ghouls. Mickey Mouse’s gaunt body grows saggy with age, his small, round ears torn and his slimy tongue dripping hungry drool. Donald Duck’s beak opens to reveal rows of teeth, emerging like claws and cruelly lining a mass of tissue; a tiny drop of blood stains his collar. In these disturbing images, we find both humor and pain, forced to reconcile our nostalgic hopes with the realities of Hollywood corruption. (via Demilked, Huff Post, and Elite Daily)
It seems talent is coming at a younger age these days. At only 22 years old South Afcrian Paul Ward is a photographer to watch and follow with more work in his portfolio than most seasoned vets. His series of people simply looking at the camera and screaming is simple yet breathtaking group of images. Scream with Paul Ward and friends after the jump.
Katherine Sherwood creates sumptuous paintings that visualize, in a lyrical and esoteric fashion, the age old metaphysical concerns of the body, life after death, and the tenuous relationship between art and science. Sherwood’’s works exhibit a Buddhist, Zen-like approach to color, form and composition, elegantly balanced and unafraid of both dense areas of joyous, swirling patterns and passages of silent, empty space. Just below the seemingly abstract planes is a latent structure of corporeal diagrams, such as angiograms, brittle tree-like linear nerve endings, and mystical Solomon’s seal, lending the paintings a religious, even ecstatic talisman-like quality.