Cuban artist Rubén Fuentes creates euphoric and surreal ink landscapes that serve as an admiration of nature as well as a quest within a meditative and serene space. Fuentes, inspired by the lush greenery of his homeland, uses his work as a means to sympathize and glorify “all of the ecosystems of our planet.” He greatly uses Chinese shan shui ink drawings as an influence methodically, aesthetically, and philosophically. Shan shui works are known for their beautifully detailed yet simultaneous almost mystical, abstract and dreamlike quality. They are strongly referential to Daoist notions of living in harmony with all— and, similar to the Abstract Expressionist movement — shan shui paintings bend and evolve the notion of what a painting is meant to achieve; these works are a vehicle for less tangible elements such as meditation and philosophy. Fuentes believes that art acts as a means of self reflection, and thus, creating art allows one to practice and improve on one’s ethical behavior and cognitive self. Therefore, the act of creating art is simultaneous, in a sense, to the act of meditation.
Within the statement of his series titled Mind Landscapes, Fuentes’ states that he tries “to represent in my art works an inner strength, a cosmological and telluric force within us that transcends the duality of matter and spirit. The practice of zen, along with a worship of mother earth and the invocation of vital forces in nature, inherited from the past of the native Cubans, Afro-Cuban culture, as well as Chinese Taoism, mark the center of my latest works.” (via INAG)
I recently had the pleasure of talking with multi-talented artist Jack Greer about his new website/project Digital Ashtray, photography, LA, New York, and sandwiches… You know an interview is going good when Bay Cities comes up as a topic of conversation. Look after the jump for an interesting Q & A with an interesting man.
When you see a photograph of a monument, often it’s just of the sculpture itself and not within the context of the larger landscape. It gives the appearance that these colossal constructions live within their own world. Photographer Fabrice Fouillet shatters this illusion in his series titled Colosses, in which he zooms out and provides us with what’s surrounding these massive creations. Many times, they make the monument appear less special and more ordinary.
Fouilllet explains his thinking behind the photographs:
The series “Colosses” is a study of the landscape embracing those monumental commemorative statues. Although hugeness is appealing, exhilarating or even fascinating, I was first intrigued by the human need to build gigantic declarations. Then I asked myself how such works could be connected to their surroundings. How can they fit in the landscape, despite their excessive dimensions and their fundamental symbolic and traditional functions?
That is why I chose to photograph the statute from a standpoint outside their formal surroundings (touristic or religious) and to favor a more detached view, watching them from the sidelines. This detachment enabled me to offer a wider view of the landscape and to place the monuments in a more contemporary dimension.
The statues that are surrounded by nature fit more comfortably in their environment. It feels less chaotic and a more peaceful place, in line with the intention of many religious practices. But, even when they are among shopping centers, you can’t ignore the stunning presence that these monuments have. (Via Flavorwire)
Spanish artist José Manuel Castro López seems to have the ability to transform the structural properties of rocks. He manipulates the surface of stone to create a new formation. He turns a classic object of solid nature into something strange, malleable and soft. His work, for just a moment, forces the viewer to question reality. For what should be “as hard as a rock” becomes reminiscent of having a materiality as flexible as dough. With loose folds, simple cut outs and pinches, it seems the artist is able to sculpt rocks as if they are as supple as clay. Each piece has a certain sense of humor to it, as it is an optical illusion that kind of asks the viewer to reflect upon his or her own common sense. Yet, simultaneous to its comical, light hearted absurdity, the work also has an almost unusual, uncomfortable resemblance to flesh, giving the work a darker, more complex facet. With these flesh like objects — quite literally for some of them, as they depict faces — the properties of what seems like skin begin to become distorted, perhaps depicting the moments directly after pain has been inflicted. For example, his sculpture of what looks like a ring puncturing skin. Or, the sculpture of what looks like the result of flesh that has been stretched through it’s ability to be elastic. With a large array of pieces, José Manuel Castro López creates clever work that truly plays tricks on your eyes. (via deMilked)
Everyone is looking for their 15 minutes of fame. We throw caution to the wind, risk our financial stability, and in the case of Ani K from Kerala, India even put our health at risk in the pursuit of artistic fame and glory. Ani K paints with his tongue. He must paint with water based paints right? Wrong! Mr. K had the brilliant idea to paint with oil paint using his tongue after he was inspired by an artist who painted with his foot. At first Ani tried using his nose but soon discovered that someone had beat him to the punch. So out with the nose and in with the tongue. “I thought of giving my tongue a try and succeeded,” he says. “Many newspapers reported it. I got a good response. Then, I made it a regular practice.”
Now I can’t tell you how dangerous and deadly it is to paint with oils with your tongue and I’m guessing Ani K didn’t read The Artist’s Handbook of Materials And Techniques. Do not try this at home folks. This will cause severe brain and nerve damage and will make you die. Unfortunately Ani K doesn’t seem to care since he’s getting lots of attention in the press. Just goes to show how desperate we all are to feel a few moments of appreciation and success. (via oddity central)
Emma Powell‘s photo series “In Search of Sleep” is a sequence of snapshots straight out of a semi-lucid dream. To create her photos, Powell uses the cyanotype process and also tints them with tea and wine. The result is a layer of haziness and off-kilter colors that enhance the surreality of her artwork, making them almost seem like paintings of the mind.
“In Search of Sleep recreates this shadowy realm and allows me to explore my real-life questions, from personal dramas to romantic doubts,” Powell says. Her inspiration is also, in part, the bedtime stories her father used to invent, which incorporated real world locations as well as a mysterious “dream-world of caverns, forests, and oceans full of unexpected animals and dangers.”
Powell’s work certainly embodies that sense of searching, longing, and subterranean menaces. In some photos, her dreamer seems very small: standing before a looming labyrinth; marooned on a rock next to an enormous anchor; pausing before the stairs as a large shadow moves behind her.
“In Search of Sleep” almost gives the sensation that as much as the dreamer seeks, she is also being sought. Powell’s photography gives us a sense of a journey, and as mysterious as it is, we can’t be sure if the seeker ever finds what she’s looking for. (h/t I Need a Guide)