Artist Takumi Kama is trying to confront and conquer his fears of high school girls by turning them into strange reptiles and animals. By anthropomorphizing teenage girls, he makes them less threatening and harmful. The Japanese drawer has imagined one girl as a snobby, gangly giraffe, holding it’s head up high and standing displeased with everything around it. He has drawn another one as a frightened armadillo huddled in the fetal position, looking terrified and uncomfortable. He has sketched the girls he would see on the train as a group of primates, absorbed in their cellphones; the book nerd in the school corridor is now an awkward frog beast holding her book in her weird hands, furry tail wrapped around a bottle of soda pop.
Kama has studied both the poses and mannerisms of the girls and also the beasts he has turned them into – combining them into one and the same. His immaculate pencil renderings create a convincing impression of these strange creatures, and it is easy to see them the way he does every time he encounters the demographic. Kama admits:
I am terrified of high school girls. If I encounter a group of them on a train there is a high possibility I will escape to another car. (Source)
This certain sub culture is often dissected, or referred to in popular Japanese culture. Called Joshi kōsei (女子高生) they feature in manga comics and videos as well as being fetishized in pornographic videos. Kama is also obsessed with the idea of this social group, but in his series Schoolgirl Animals, they are seen as something a bit more imaginative and humorous than the usual schoolgirl fantasy. The collection of his pencil drawings were on show at BAMI gallery in Kyoto until May 31, 2015, but you can still enjoy more of the images after the jump. (Via Spoon Tamago)
Peter Nitsch’s latest photographic series, “Shophouses,” documents Nitsch’s trip to Bangkok, where he became fascinated with the way in which many Southeast Asian city dwellers live; combining their work and living spaces. In this project, Nitsch explored the diverse cultural and social mix of a rapidly urbanizing Thailand, in order to uncover the basic human qualities that connect his subjects to his work’s viewers.
Dan Colen’s trash-to-treasure mixed media installations remind us of the potential of beauty in the discarded. In his exhibition, Blowin’ In the Wind, Colen repurposes the painting tools which he uses to create his Trash series. These objects are placed or hung in the gallery, absent of the painted canvases that resulted from their use. Painting tools include objects such as a flip-flop, a paint can, rags, string, bottles, a tire, a yellow mop bucket, a McDonald’s food bag, and an umbrella handle. In Out of the Blue and Into the Black, Colen tars and feathers an entire gallery wall with one small and bright painted canvas among this image of morbidity. Also part of this installation is a cluster of suspended beat-up and forgotten blue bicycles. Representing the more literal approach of trash-to-treasure are canvases onto which Colen has pasted painted trash or gum and gum wrappers. Colen’s background is in painting and a series of his oil paintings, entitled The Spirits That I Called, will be on view at Oko Gallery in New York from May 15 – June 15.
I wear a lot of black and am frequently lumped into a certain black wearing subculture that will remain nameless (hint: it isn’t “dark people”); so I was understandably delighted when I saw these exquisitely polished portraits by Spanish photographer Jorge Miguel.
Canadian artist Tonya Corkey creates portraits made out of lint on canvas. Through her choice of material and subject, the artist looks to investigate an unavoidable aspect of human nature- precisely, the the need to collect memories and reconstruct the past. The series, “See You In the Future,” looks to further analyze this desire to recollect objects and moments of the past through a medium that encompasses the essence of loss and decay over time.
My work hybridizes the discarded material of lint with the second hand image – the iconic school photograph – to conceptualize my interests. Materiality conceptually layers the work. As a byproduct of society, lint consists of fibers, hair, dead skin and other debris, and thus directly referencing people and their daily activity. Lint and cast off photographs are both discarded materials – materials that reflect the idea of a decaying memory. Our desire for memory in absence is triggered by sensations of smell and touch, a trait of my work.
Sølve Sundsbø is a London-based (Norway-born) photographer whose highly stylized shoots bring an experimental edge into the world of high fashion. This particular series — called Points a la Ligne — was shot for Numéro magazine’s May 2008 issue. The concept is simple, yet powerful; patterned shadows of stripes and circles are cast across the body of a nude model (Edita Vilkeviciute). Between the model’s painted-white skin and the pitch-black shadows surrounding and traversing her, the photos are strongly contrasted. Her lipstick — in varying bright shades — is the only source of color that punctuates the series, attracting the eye to her mouth.
The result of Sundsbø’s experiments with light and shadow is a photo series that lends a sensual geometry to the body. In some images, the shadows — which appear painted on, initially — give her body a feline appearance, and in others, almost a pop-art/film noir aspect, or even more abstractly, the way sunlight reflects off of sand dunes. The interpretations are varied, but the illusory effect on her form is beautiful.
Sundsbø has shot for a number of fashion publications and beauty brands, including Vogue, NYTimes, Chanel, Dolce & Gabbana, and H&M. You can explore the rest of his imaginative, sensual, and highly polished work on his website. (Via Art Fucks Me)