Today’s Art Works Every Time interview is with Colin Strandberg, whose work is a playful exploration of color and shape, straddling both abstraction and figurative work. Colin contributed our grand prize winning graphic, which can be seen on our show flyer. We’ll also be printing T-shirts with the design for the exhibition- first 100 visitors get one for free! Just 5 days away now til the show!
Common movie scenes are showing us police mug shots, incognito faces in crowds and wanted killer posters. None of these seem unnatural or chocking anymore, we are tamed by cyberculture and technology. We could not imagine having to go through an identity check other than with our passport, signature or a police officer physically present in front of us. Yet, we’ve already left those ancient methods and engaged with facial, retina and odour recognition; fingerprints and hand geometry. We’ve entered the biometric data era. Not always conscious of how fast the world evolves around us, Tony Oursler has set a mission to “invite the viewer to glimpse themselves from another perspective that of the machines we have recently created”. He has been exploring the link between the growth of our technological dependance and its effect on our psychology.
The artist has created magnified face images, some of them coated with a stainless steel panel embeded with video screens and others marked with geometric patterns of algorythmic facial recognition mapping. He is embarking us with a dash of humor into the disturbing technology’s effect on the human mind. Tony Oursler plays with the face. Starting with the eyes and going down into the neck, he is suggesting that technology will use every bit of skin and organ to study the daily behavior, emotions and rituals of humans in order to categorize them. The viewer when facing those giant profiles is left with the strange feeling of being watched. The artist wants to highlight how uncanny is the process of teaching machines how to observe only the external appareance and to pretend, from there, to understand human’s true nature.
Tony Oursler is currently represented by Lisson Gallery.
Los Angeles-based artist Aaron Smith‘s bearded portraiture combines rough brushstrokes and bright colors in this spectacular series. By using photographs of Victorian gentlemen, Smith re-imagines the men in vibrant colors with the thick impasto showing a modern sensibility. More after the jump.
The murals of graffiti artist Peeta definitely, and nearly literally, stand out. Peeta uses a a familiar style peculiar to street art murals and tags. However, using careful perspective and shading, he’s able to create the illusion of depth. His work seems to twist and wind just above the wall’s surface. While Peeta does also create sculptural versions of his street art inspired work, the images featured here are entirely two dimensional. [via]
Hollie Chastain is a collage artist from Chattanooga, Tennessee. Her eye for puzzling together found paper scraps with cut images, shapes, or silhouettes, matched with a rainbow pop of arresting color, gives her collection a vintage yet contemporary appeal. So, it’s no surprise to see her work grace the covers of not only the literary Oxford American but also musical albums from The Figgs and Lightyear.
Most recently, Chastain had brunch with The Jealous Curator to discuss her love of antiquing for found imagery and her pretty heavenly book cover series (above), noting her process: “I never plan them ahead of time. When I find one I like, I sit down with my scraps and move things around until something feels perfect. Most of the time, I will first decide what I can’t bear to cover up on the original cover and that is the beginning of the shape of the composition.”
Michael Mapes Boxed collages house thousands of individual specimens consisting of dissected photographs and biographical DNA in the form of such things as hair, finger nails, scent, eye lashes, fingerprints, food, botanical elements, fabric swatches, makeup, dirt, handwriting samples and breath. The human specimens reflect the artist’s interest in the role of creative science as lab threatens to supplant studio in his own work. Representations of the specimen are dissected and then reconstructed through artistic interpretation invoking entomological, forensic and artistic methods. (via)
Using salvaged materials Boston based artist collective !ND!V!DUALS create sculptural installations occupied by large-scale or life-size characters and creatures that are influenced by 1990’s cartoons, animations, and film set designs. Creatures and anthropomorphic beasts have been the focus of work as well as an interest in creating environments and transformative art experiences. The narratives are fairly open, but encourage viewers to be transported into the world of there humorous and playful sculptures. (via)
Japanese-born Hiroyuki Nakamura is a painter of displaced imagery. His paintings are constructs of old-meets-new at the ironic seam where east-meets-west. Although visually, these constructs are voices of the artist’s imagination, he’s managed to capture something very tangible about life in the western desert – a lifestyle where one makes do, where routine is determined by the landscape, and where one makes a life by piecing together the randomness of what one finds, which are often the leftovers of passersby.