The works São Paulo-based Odires Mlászho hinge on transformations, often employing books, found images, tape, paste and collage. The Brazilian artist’s name is even a work of transmutation. Born José Odires Micowski, Mlászho created his artist pseudonym by borrowing from and combining the names of his two great influences, Max Ernst and László Moholy-Nagy. In a description taken from an insightful studio visit with Goethe-Institut, the following is perhaps the best description of the artist’s working process. “In Odires Mlászho’s work, objects are photos, texts are images, books are sculptures: nothing occupies its original place in the world. With his work the artist proves that things are not such as defined in the way we tend to believe and that after destruction objects can be re-created and reused in a total different way. His work offers us the possibility of entering a world with a completely new kind of perception: it is our world, all the original elements are there, but this world is truly and deeply transformed.
For works which Mlászho debuted earlier this summer at ‘Inside/Outside’ at the Venice Art Biennale 2013, he weaved individual pages of books until they were connected and bound in an entirely new way. Created with fellow Brazilian artist, Hélio Fervenza, the book sculptures rely on an intricate twisting of possibilities which are visually engrossing and immediately approachable, a difficult feat considering the complex theories behind the work.
Inspired by the work of Sergey Larenkov and Joeri Teeuwisse, who blend historic pictures of war-torn Europe with modern-day views of the same locations, New York City press photographer Marc Hermann has superimposed news photos from the Daily News’ massive archive over photographs of the exact same location, merging past and present. For a large city like New York, the history of events that occur in the same location is layered with much activity. This series, entitled The Daily News – Then and Now, invokes the presence of past lives and activities, asking viewers to remember the layered history that can be found right around the corner in any dense city. Hermann says, “New York is constantly changing and transforming, and tragedies that affected individuals’ lives are forgotten. We may stand on what was once the site of a horrific murder and not even know it, simply because life goes on.” What I find most fascinating is the lingering of details from past to present; particular landscapes, bricks, and staircase banisters that remain virtually unchanged, though the events that have occurred around them have come and gone. (via dangerous minds)
The lush, vibrant colored pencil drawings of Joe Sinness portray screen and stage stars, queer icons, and online erotica submitters, combining them with antique or thrift store items, flowers and jewels to create carefully constructed tableaus. The technical ability of the Minneapolis-based artist is what one immediately notices, and it is only after that the viewer must attempt to make sense of the laboriously drawn scene before them.
Sinness creates each still-life by hand before photographing and then meticulously executing them with Prismacolor pencils. ”I want each still life to have a visual richness or lushness to highlight and celebrate the figures or kitsch objects presented (and I use the term ‘kitsch’ with the utmost seriousness)”.In works like the Shining Indiscretions triptych (seen above), Sinness created a loose mythology which the work is based on, but does not depend upon. Titled from a Tennesse Williams quote (“All good art is an indiscretion.”), Sinness built hundreds of scenes imagining what a queer,flamboyant spirit such as Williams might physically look like, eventually settling on a triptych of shapes formed from gold lamé. The triumph of this triptych is that the viewer most certainly does not need to know this backstory to enjoy the work, because the images are so visually striking and meditative that they speak for themselves. However, they also have a strong conceptual intention and purpose which informs the work for those who wish to dig deeper.
Sinness continues, “I am interested in how objects and people seeking fame become consumable products, a paradox that sees their artistic endeavors pursuing immortality become disposable and commodified. My imagery and subjects are first looted and then loved… In mining these subjects and devotedly recasting them together in shrine-like still lifes, they are given new life in narratives which mirror their subject’s original aspiration and desire for fame and immortality.”
Beautiful/Decay is excited to bring you our exclusive artist feature in partnership with Made With Color, the premiere platform for artist websites. Each week we join forces to bring you some of the most exciting creatives working today who use Made With Color to create their clean and sleek sites. All Made With Color sites not only work beautifully on your computer but also come optimized for mobile and tablet users making sure that your portfolio looks professional no matter how you view it. For this weeks artist spotlight we bring you the paintings of Julia Schwartz.
Julia Schwartz’s paintings are inspired by anything and everything around her. Flooded studios, homes in various cities, disappearing icebergs, california light and relationships all are put through her (mostly) abstract painting process to create work that is intuitive and contemplative all at once. Our favorite pieces in her “State Of Being” series has to be the brutally honest text based paintings that display messages of catharsis and artistic despair.
On her website Schwartz states the following about her painting process:
I have something like a virtual rolodex in my mind which contains not names and numbers, but years of study, reading, looking, shadows, dreams, art, and world events. Like a receptacle of experiences, my unconscious unfurls into a painting in the same way described by chaos theory, with one small seemingly unrelated movement having an impact on the piece as a whole.
The fascinating possibilities of 3D printing are getting bigger, particularly with the unveiling of one of the most ambitious printed projects yet, the Baroque-by-way-of-Bitmapped sculpture titled Digital Grotesque. Conceived by architects Michael Hansmeyer and Benjamin Dillenburger, the duo claim their project is the world’s first 3D printed room. Computer algorithms designed most of the structure’s 260 million surfaces, which were printed in sections using a composite sand and binding agent to create a sandstone-like material. When each 4 meter tall, 1 meter wide and 3 meter deep sections were manually placed, the enclosure measures 16 feet and weighs a staggering 11 tons.
According to their website, the architects believethat “New materials and fabrication methods have historically led to radical changes in architectural design. They have indeed been the primary drivers in its evolution. Today, additive manufacturing heralds a revolution in fabrication for design. Yet in architecture, this technology has up to now been used only for small scale models. Digital Grotesque takes additive manufacturing technology to a true architectural scale. Not a small model is printed, but the actual room itself.”
Perhaps most compelling from an art perspective (or at least an art-historical perspective) is the logical conclusion the duo’s project makes. “The Digital Grotesque project opens the door to the printing of architecture. It suggests that 3D sandstone printing can be applied both to restoring historic buildings and to constructing new ones.” One can only imagine the possibilities that this technology will yield for museum research, archaeological recreation, and art exhibitions in the coming decades. (via oddly_even)
The old Getty gas station at 24th Street and 10th Avenue in Chelsea, which will be leveled and turned into a development project, currently houses an art installation created by Francois-Xavier Lalanne that features a flock of sheep.
The gas station was completely transformed for the Sheep Station, with rolling hills of green grass and 25 grazing “Mouton” sculptures enclosed with a white picket fence. For the project Michael Shvo partnered with Paul Kasmin Gallery, who handles Lalanne’s estate, (Lalanne passed away in 2008). Shvo co-purchased the site and plans to build luxury residences there. During the construction, the Getty station will supposedly feature several other exhibitions, and the finished residency says it will do the same.
Lalanne was born in southwestern France, but lived and worked in Montparnasse. Influenced by artists such as Constantin Brancusi, Man Ray and Marcel Duchamp, Lalanne is attributed to creating his own brand of surrealism. He sought to demystify art, which he regarded as a funhouse rather than a cathedral.
The sight of the 25 epoxy stone and bronze sheep is startling and surprising against the industrial backdrop of Chelsea and certainly feels more fun than sacred. Indeed, Lalanne enjoyed working with animal forms because “everyone can recognize animals throughout the world. You don’t have to explain what they are or mean.”
Multidisciplinary artist Jean Jullien, previously featured for his large bird-shaped bar creation, is currently showing his newest collection of work, La Plage, at London’s Beach Gallery until September 29. This collection of images represents Jullien’s conceptual perspective of beach life. The images are simple, with clean shapes and lines, but are telling of a cheeky narrative. These humorous summertime illustrations indicate the sense of unrealized desire, frustration, and absurdity that can occur when you’re seaside. The prints began as illustrations using a brush and paper before Jullien digitally processed them to enhance the colors. An important part of this work for Jullien is his deliberate reduction of black outlines. Jullien explains that the figures he has lined in black tell a story or gag, while the ones without lines indicate something a bit more subtle.
Of the series, Jullien tells Cool Hunting, “I love the beach for how minimal it is; sand, sea, sky and skin. It’s very soft and yet very colorful, so it was important for me to try to explore that graphically…When you think about it, it’s a pretty odd environment in terms of social boundaries,” he observes. “Yet everyone is as free as a bird…I draw a lot on the beach, I love how naked it all gets,”
Curiosity led photographer James Friedman to cut into his collection of golf balls to see what the cores looked like. To his surprise, he discovered that each golf ball contained a unique interiority, revealing elegant formal qualities and inspiring Friedman to become more enthusiastic about the possibilities of abstraction in his photography, especially as a corollary to his documentary work. His series, entitled Interior Design, captures these surprisingly colorful and distinctive golf ball guts, displaying the inner beauty contained within their homogenized white forms. Friedman has been fascinated with photography since he took his first self-portrait at 5 years old. He does not play golf. (via Lost at E Minor)