As we move further into the digital age, designers are looking for new ways to offer products that will make even portable devices obsolete. A new product by a company called Cicret is offering a bracelet that will enable the wearer to project the functions of his/her Smartphone onto their arm. Through a simple bracelet design, a series of sensors would pick up a smartphone’s signals and project it onto your wrist. Once projected, it will be fully functional as a phone on your skin. Depending on the amount of memory you choose, social media, email and web surfing functions would all be available in places you’ve never imagined before. Those who opt for more gigabytes could also play video games. It’s Bladerunner convenience with a flick of the wrist. A video on Cicret’s site demonstrated how an arm will now function as an ipad. A scary thought, when taking into consideration the ipad was only invented 5 years ago. The speed technology moves today is lightning fast. The company currently needs 1 million euros to make a prototype. According to a statement, they currently have close to 5,000 donors but it doesn’t mention how much money has actually been raised. If they can pull it off, Cicret has a cool chance of becoming successful, and in the process, put a few of the tech giants out of business. Another issue is cost. Currently, Google glass, a similar product, is selling for $1500. As a young startup and in order to compete, Cicret would have to offer their bracelet at a third of the price. Let the games begin. (via Designfaves)
Tom Sanford has drawn portraits of the people in his neighborhood. It’s good to be, it’s wonderful to be a neighbor, Sanford seems to be saying with his empathic ink wash drawings. Sanford is an enormously skillful portraitist. He manages to both simplify and capture the emotion and spirit of the person he is drawing. In an age of constant news stories about how no one is getting along, it is great to see an artist reach out to their community and basically say ‘hey, I like you, and we are in this together.’ You can see these drawings, along with the large oil painting pictured first in this post, at his show, What’s Good in the Hood, at Gitler & _____, it opens January 4th and runs until the 18th.
Colombian painter Jesus Leguizamo combines realistic elements of portraiture with abstract, creating surreal pieces that sing with emotion. His paintings look almost like oil-on-canvas renditions of glitch art, his subjets interrupted with splotches of colors and smears of paint.
Leguizamo’s paintings feel like intimate peeks into someone’s emotional state of mind, and his expressive brushstrokes seem to convey a raw sense of confusion or mental tumult. There’s a dynamism to his paintings, as though they’re a motion capture camera snapping just one frame of his subject. According to Saatchi Art, Leguizamo explores human fragility with “his depictions of people [that] erases and blurs that which defines the human being – the face. ” (via I Need a Guide)
Rebecca Morgan is a wonderfully playful, expressive artist producing mostly drawings, paintings, ceramics and cutouts, all based on characters and stereotypes from her native Appalachian area in America. Long term fans of Morgan’s, we have actually featured her previous series of portraits of rednecks and peasants- ‘Deliverance‘, here on B/D. This time we are enamored with her latest ceramic collection of gnarled, twisted, almost gruesome jugs. As with her 2D work, Morgan takes inspiration from the off-beat “bumpkin” (as she calls them) folk she grew up around.
Her ceramics are quite the sight – with bulging eyes, leering at you, and with crooked smiles, mouths full of oddly shaped and yellowed teeth. Their colors are quite unsettling as well, some vases a sickly blue-green tone; another is bright pus yellow; some vases glazed in a metallic sheen; and yet another made from a dull grey ceramic with ghastly warts plastered all over it’s face.
Stylistically, Morgan embraces hyper-detailed naturalism, influenced by Dutch painters such as Memling, Brueghel, and Van Eyck, as well as absurd, repulsive caricature suggestive of underground cartoonists like R.Crumb. (Source)
The influence of underground comics are definitely evident in Morgan’s work and she makes sure to embrace a healthy dose of lewdness, as does Crumb. She obviously delights in pushing the boundary between repulsion and attraction; the grotesque and the ordinary. Thankfully these vases are neither repulsive, nor grotesque, and they are far from being ordinary.
Brooklyn-based photographer Rob MacInnis captures candid portraits of farm animals in his aptly titled Farm Series. The desaturated, vintage-looking photos provide a nostalgic and straightforward view of cows, horses, goats, and more. Staring completely calm at the camera, they pose for family photos in barns and in the wilderness. Sometimes, MacInnis will also highlight a single animal in up-close and personal portraiture. It showcases their wild, textured hair and kind eyes.
There’s something that’s delightfully ordinary about these photos. They aren’t flashy or bursting with color. Instead, they depict a simpler life that’s unfettered by technology and dense cityscapes. It’s as if by looking at these images, we’re reminded of old family portraits – ones where we’re younger and things didn’t seem so complicated. (Via I need a guide)
Paco Peregrín is an international photographer who creates experimental characters out of high-fashion images. This particular series is entitled Beautiful Monster, which Peregrín directed with the intention of exploring the effect of makeup on identity:
All photos that integrate Beautiful Monster allude to a very particular concept of beauty (sometimes unusual, alien or even beautifully monstrous), to its ephemeral nature and the passage of time. Naked men and women are on a neutral background where makeup comes great prominence, even avoiding the recognition of the models, thus reflecting on the idea of identity and a proposal for the makeup as a contemporary mask that protects us, on the one hand like a camouflage, [and on] the other helping us to build a super-ego. (Source)
Peregrín’s “Monsters” are fascinating, radiating with acid-bright color and cryptic eroticism. Most often nude, their faces are bound and adorned with rope, tape, paint, and jewels. Something happens when their features are obscured — their expressive bodies appear almost inhuman. In a style best described as hyper-real futurism, the images speak directly to a postmodern society so obsessed with beauty and constructed identities that it slips into beautiful absurdity.
Given that fashion photography is often criticized as being wholly commercialized and thus heavily restricted, Peregrín’s unique style is doubly surprising; he has worked with big names such as Chanel, Diesel, Vogue, and Vanity Fair, but still manages to bring his own creative and unconventional vision into his works. Check out his website for a gallery of his immersive and consistently experimental projects. (Via Art Fucks Me)
A young photographer named Rachel Baran is taking surrealist pictures to a new level. Mostly self portraits in strange settings, her manipulation in photoshop allows fantastical things to happen. Displaying nuances usually found only in painting, it’s no wonder people are taking notice. According to her Facebook page, she lives in Ohio, just graduated from college and seems like a regular gal except for her highly creative eye. Some significant work shows appendages (fingers) in different stages of duress. In one, two hands are fused together by skinwebs and another shows a cutoff finger revealing not blood but concrete. One does reveal blood and a montage of her cutup portrait on a clothes line to dry turns a bit, well, emotional. Whether there is any real logic to her work is another question. However, an understanding might not matter, because the pictures hold your attention. Some may dismiss them as pretentious gobbledygook, others will embrace and try to find hidden meaning. The surrealists played with subconscious. Ideas were thought about but not necessarily thought out. Comprehension was a feeling. Dali believed in Jungian and Freudian behavior. For part of his daily practice, the artist would fall asleep with a big sketchbook on his lap and be awoken by it crashing onto the floor and immediately jot down whatever was in his mind. Baran’s photographs follow a similar plan. They exist to explore a subconscious path. Through a series of latent acts, interesting moments occur and the camera is there to capture them. (via Artfucksme)