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Aya Uekawa

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Aya Uekawa fuses the high realism of Dutch & Flemish Renaissance paintings with portraits of young women, often in states of dreamy transformation, straddling reality and fantasy.

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Wookjae Maeng’s Uncanny Sculptures Explore The Relationship Between Man And Beast

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Wookjae Maeng creates ceramic sculptures exclusively representing animals. Most of the time hung off the wall like trophies or mixed with human body parts. His purpose is to not only to trigger a feeling but also a reaction when facing the pieces. Environment, nature and human kind are themes the artist wants to support. He is choosing ceramics to do so. 

The animals Wookjae Maeng designs are perfect depictions. Deers, rhinoceroses, mice, pigs and rams, the variety is large. The details of the features are flawlessly imitated. The artist chooses to apply neutral colors to the body of the animals. A dominant of white with a touch of grey, black and brown. The eyes are the part that’s always rendered in shiny gold no exception.

The relationship between the animals and human kind is the focus here. The artist wants to create a 3 way conversation. ‘Within this process the viewer not only intellectually comprehends the work but also viscerally appreciates it if their preconceptions are challenged or senses other than sight are stimulated.’ The presence of nature and its creatures needs nurturing and special care. In an elegant and optimistic way, Wookjae Maeng is suggesting that we all take care of each other, however small and insignificant we may appear to each other. (Via Trendland).

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Cara DeAngelis Paints Roadkill in Satirical 17th Century Still Lifes

 

Cara DeAngelis paints found roadkill in “compositions that both pay homage to, and satirize 17th century Hunting Still Lifes”. “The still lifes and portraits of animals on aristocratic laps explore the long-standing confrontations between the domestic and the wild.” But DeAngelis’ black magic goes a little further than that. The artist, who takes care to incorporate the “Tragic and the Infantile” within her work, includes children’s toys and dolls in her compositions to create an “absurd union“- nostalgia vs. violent death, innocence vs. murder. These paintings are done in oil, which somehow seems appropriate for the heavy concept scale within DeAngelis’ work. Ms. DeAngelis received her MFA from the New York Academy of Art in 2011.

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Design Watch: Loll Designs

When I close my eyes and dream of outdoor furniture, I see visions of Loll’s cheery Vang Chairs, or whiling away the hours in their rocking Racer Chair , or napping in the shade on a 405 Chaise. Loll’s furniture has a strong architectural presence while remaining friendly and homey. See more after the jump.

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Five Months Inside The World’s Tallest Squat

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The Centro Financiero Confinanzas Skyscraper in Caracas, Venezuela, has been home to 3000 squatting residents since October 2007. Alejandro Cegarra took five months to create The Other Side of the Tower, a photo-series that documents the lives of the abandoned building’s inhabitants. Although it is in no way an ideal life – Cegarra reports that there are places without railings where drunk people or children have fallen, and that the water and electrical systems are not adequate – the Tower of David, as it has been nicknamed, is a place where people have created their homes to live mostly peacefully.

Cegarra’s photographs provide a candid look at the community, and how they have developed the unfinished building into something livable. There are shops, and even an unlicensed dentist working in the building. Although the elevators do not work, people ride motorcycles up to the 10th floor in place of them. Residents live up to the 28th floor, meaning some walk 18 flights of stairs even with the use of a motorcycle.

The photo-series brings up an interesting issue of living standards and help versus enforcement. After difficult negotiation, government officials agreed in July to move hundreds of families to new social housing in Cua, south of Caracas. There has apparently been interest expressed in developing the rest of the building for its original purpose, but the government states it is open to a dialogue concerning the use of the building. Still, considering some residents would have been living there for 7 years, is dislocation the best option? Could the government have invested money in developing the building as a better home to those who already live there, or is it a-moral to nurture inherently unstable conditions.

Cegarra’s photographs help to illustrate the perspective of those most affected. Although his own lens may equally distort in favour of the tower’s inhabitants, romanticizing their condition, it may be closer to the truth than anything else offered. Ultimately, it should be the inhabitant’s needs that are considered the most heavily.

Cegarra has been awarded the Ian Parry Scholarship for The Other Side of the Tower. (Via TIME Lightbox)

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MDCCLXIV

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Did any B/D readers have a bad day today? Look at the above image. Stare at it for a minute. I defy you to not become happy. You can thank a French designer by the name of MDCCLXIV, who has a ton of really cool pixel art (a lot of which are GIFs) up on his flickr page. Be sure to check out his groundbreaking Microsoft Excel art, most of which I wasn’t able to post here.

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F. and D. Cartier’s Pink-Hued Fashion Photograms

 

As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Alison Zavos’ article on F. & D. Cartier.

Husband-and-wife duo, F. & D. Cartier started working together in 1998. They are well known for their pink-hued photograms—cameraless photographs made by placing personal objects, in this case feminine fashion items, in contact with a black-and-white photosensitive paper surface. The result are these sexy and dreamy images which can be seen in their book Roses.

F. & D. Cartier are represented by Hous Projects in New York.

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Monica Cook’s Women Covered In Slime And Octopus

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New York painter Monica Cook depicts absurd, messy scenes in these paintings of women playing and posing with food and sea creatures. Often referred to as “absurd,” her work tells of women, sometimes not naked, covered in liquids and slime, fruit pulp, and cradling octopi. There is no arguing her painterly talent at narrating the viscosity of the elements in the frame, but she leaves it up to the viewer as to how they will interpret the contents of the scene. Meaning, she has no implied meaning:

“When I’m painting, it’s more about my relationship with the object than it is about me. It’s hard for me to separate myself from the experience. It could be a fish or an octopus. I handle it until it becomes unfamiliar to me so I can see it in a new way. People might want to read into those paintings but for me, it’s just about finding magic in the mundane and exploring further. I’m sure if I stumbled upon the work I’d see it differently.” (Excerpt from Source)

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