Kris Knight’s portraits are presented in such a settled and graceful manner, yet underneath the surface of the subjects in question, he is able to portray various feelings of awe and mystery. Who are these characters who candidly stare back at the viewer? Such hidden emotions are portrayed through a muted color palette and calculated brushstrokes, giving the viewer plenty to look at, yet with a feeling of wanting to know more.
French artist Debit de Beau creates gorgeous photo collages that seem to inhabit their own world. With wide skies dwarfing tiny inhabitants, Beau’s artwork seems both expansive and a little lonely.
Beau uses both illustration and textures, such cloth with raw edges, to liven up his collages. His landscapes meet at the intersection of the manmade and the natural world. A boy meets a whale just off a lighthouse’s shore, while a man walks his pet snail and considers a crossroads marked with all of life’s milestones: hope, loss, guilt, and success.
The emotional palette that Beau works with seems quite varied, his subjects by turn leaping joyfully off of a ferris wheel and pause, questioning a ladder that hangs from a lone window. The surreality of his collages aims to capture not a perfectly realistic scene but to cause emotional resonance, placing us in that person’s frame of mind. To climb or not to climb? Should I follow the snail? Or contemplate a quiet fall of rain? (via Optically Addicted)
The songs are heartfelt and powerful with Lee’s fragile and beautiful voice as the centerpiece, and the recordings are an instantly engaging blend of high and low fidelity, mixing lush studio productions, featuring keys, guitar, violin and banjo, with clattering homemade percussion and found sounds. While the album is certainly Lee’s brainchild, the recordings are very much a collaborative effort featuring contributions by friends and others met along the way.
Mutual Benefit is currently on a US tour with European dates to follow. Check out his video for Advanced Falconry and then catch him live this Tuesday, January 28th at the Center for the Arts Eagle Rock in Los Angeles. He’ll also be playing some East Coast dates in early February before heading off to Europe.
According to Ray Kurzweil, scientist & Singularity theorist, “We [as human beings] can ‘go beyond’ the ‘ordinary’ powers of the material world through the power of patterns . . . It’s through the emergent powers of the pattern that we transcend.”
Similarly, these concepts of materiality, patterns, technology, and transcendence haunt the mixed media paintings of Nick Gentry, who hails from the London street art scene and beyond.
As far as process goes, Gentry engages in what he calls a “social art project”, whereas people mail archaic technology (film negatives, floppy disks) to his studio/gallery to help build the base of his work. Instead of just relying on a pictorial image, Gentry allows the “history” and “variety of unique memories contained in used objects” to also serve as the subject of each piece. The result is reminiscent of 1990s Electronica and aches of a strange collective sense of contemporary loss.
Artist Zsuzsi Csiszer’s installation may at first seem massively out of place. An actual subway car emerges out of the floor into the Museum Kiscelli in Budapest. It seems poised to make a stop and move on to its next otherworldly destination. The subway clearly references a journey – one of more significance than just from one neighborhood to another. More importantly perhaps, subway cars transport groups of people. Maybe it sounds cheesy, but the piece is similar to a larger journey we all make. One in which we share with various people who come and go.
Robbie Rowlands is a Melbourne based artist whose work explores notions of stability and vulnerability through the manipulation of objects and environments. His repetitious and precise cuts and the resulting distortions reflect the inescapable passing of time that affects everything around us. Rowlands’ works have been described as“spotlighting the history, humanity and function” of his subjects. His manipulated objects and spaces blur the boundaries between our fabricated world and the natural world.