Frightening monsters, gentle monsters and funny monsters. The kids and artists working on the monster themed project ‘Go Monster Project’ welcome any kind of creatures. This project raises awareness for children’s imagination as a mean to shape their adult personality and future.
Elementary students are asked to draw a monster, that’s the starting point of the project. No rules or conditions have been set. They are asked to let their imagination wander and to draw literally anything that comes through their minds. Once they are done, the drawings are transformed into paintings, 3D illustrations, animations; digitally or manually by mini-sculptures. The kids are able to see their creatures come to life, and most importantly they are getting the validation that their creativity, taste and talent is significant.
There’s no right or wrong. The fact that they won’t be graded or judged from their creations help the children recognize the power of their imagination. This project aims to encourage kids to grow their potential within an environment ruled by ‘like’ buttons and a permanent search for social approval. The excitement shared is twofold. The kids are having a great time drawing and the artists are exploring their imagination by taking over the simple yet creative drawings into visually elaborated and detailed designs.
In 1888, Vincent van Gogh severed his left ear with a razor blade—an act that would solidify his reputation in art history as a tortured genius. Last year, in a grim-but-fascinating project titled Sugababe, Dutch artist Diemut Strebe recreated the lost “artifact” as a living replica. She created it using 3D printing and genetic material derived from Lieuwe van Gogh, the great-great-grandson of Vincent’s brother Theo. The ear has been sustained in a nutrient solution, and remarkably, it can hear you; using a microphone, visitors can speak to it, and the sound is processed by a computer that simulates real-time nerve impulses.
The purpose of the project is part science, part literature, part theory. It is an investigation into human replication—can the artist’s essence be reborn, or replaced? Drawing on the Theseus paradox from Plutarch, the ear invokes questions about bioengineering and authenticity. The project’s description on Strebe’s website goes into more detail:
“In the late 1st century Plutarch asked in The Life of Theseus whether a ship, which was restored by replacing all its parts, remained the same ship. In the course of time, many variations of the principle have been described. One of these variations refers to the title of the project. The famous paradox is carried out with biological material making a particular form of human replication, from historical or synthesized material, a central focus of this project. The ear is one of a series of a limited edition, made of different scientific components referring in various ways to the same principle of replacement.” (Source)
Visitors wishing to view this curiosity and “speak” to the deceased artist will be able to see it at the Ronald Feldman Fine Arts’ show Free Radicals, which runs November 7th-December 5th, 2015. (Via The Creators Project)
Within his series Cowboys, Italian born artist Stefano Galli captures the essence of the rodeo. When encountering Galli’s blurred displays of fast paced moments, at first glance, the images almost take on a painterly aesthetic. The blended earth tones enriched by small marks of what could be cadmium red mimic the sort of guttural intensity found in Abstract Expressionism. Yet, with further inspection, it becomes clear that these moments are, in fact, not abstract at all. Galli’s series displays a hyper specific sensibility of the rodeo — they go beyond what is physically there and take on the challenge to document both the visual and psychological affect the rodeo has on these cowboys. With a crowds of faceless faces, bucking broncos whose warped bodies begin to take the formation of something out of a Francis Bacon painting, and long, lingering lights that possess a cinematic feel, Galli is able to represent the true element of movement. His photographs are a clever answer to create a discourse on a challenging topic for a motionless medium: speed. But, more importantly, his images provoke not only a discourse on gesture, but also on control. What does it feel like to have control when all sense of homeostasis is disrupted? How does one remain in control? And further, through the distortion of the image, is Galli provoking the viewer to lose his or her control? Are we asked to let go of our need to make sense of what we’re seeing? Perhaps, for a moment, we should act on instinct. Delicate yet powerful, Stefano Galli truly exposes a contemporary visual thought process on an age-old tradition.
Beautiful/Decay is pleased to introduce online website building platform Made With Color, which empowers artists artists to build a professional website in minutes. Made With Color allows artists to build a sleek website and share their art without having to code and spend hours on lay-outs. The simplified and responsive navigation is made to be functional. Giving both the artists and the viewers the possibility to explore some of the best contemporary art in a pleasant environment. This week, we are sharing Edith Beaucage’s latest work ‘Chill Bivouac Rhymes’ series.
California based Edith Beaucage translates an atmosphere onto the canvas, using the painting as a snapshot. Her work involves characters, a scenario and a scene. Allowing the imagination of the viewers to go beyond the painting and envision their own story. The ‘Chill Bivouac Rhymes’ series is built as a loose leaf narrative. A ballerina, her entourage, her Russian lover, a rave and a specific, yet invented location: Yellow Boa Canyon.
The paintings depict the characters interacting with each other in the fantasy land created by the artist. Edit Beaucage’s strokes are ‘broad, fluid and relaxed’. Translating a world of floating moments and effortless motions. The characters are blended with the landscape. The same tonality of colors and the same brushstrokes are used for each of them. The artist captures a couple kissing, a girl dancing, a men smoking and a teenager sleeping. Never omitting to add-on the wandering, lingering rhythm which ends up altering the mood and spirit of the viewer.
A naked body lacerated by regular and organized cuts. The paper sculptures of Georgia Russell are full of expression and poetry. Using just her scalpel to create motion on two dimension pictures.
She collects magazines and newspapers. And browses flea markets to find books to cut. Originally from Scotland, she moved to France after graduating and that’s when she started tearing out books she found on the docks of the Seine in Paris. The artist found in the act of cutting that she was liberating the books from their sculptural forms. Humanizing and creating a connection between the books and the viewers.
Georgia Russell is drawing with her scalpel. The repetitive patterns she designs on the paper look like brisk brushstrokes. Blending with the background, creating texture mimicking feathers blown by an imaginary wind. She gives a voluptuous movement to the cutouts. Circles and waves are embracing the position of the naked bodies. The artist thinks of cutting paper as a mean to express her feelings. A freedom of speech she uses to captures strong emotions into her pieces. The notion of destruction is omnipresent in her interpretation of the use of the scalpel. However, it’s a positive one. From an abandoned piece of paper and her scalpel, she transforms her turmoil into an organic and vibrant art piece. (via INAG)
Like many of us, Blank William grew up a fan of the Star Wars series. Now, he has used his passion and talent as a designer to create a new variety of Stormtroopers—ones with animal features. His feral, futuristic battalion consists of two series, The New Order: White and The New Order: Black. Currently, there are elephant, rhino, and hippo designs, and William has brilliantly meshed the animals’ physical features with the soldiers’ glossy plastoid armor, dark eyes, and ventilation details. Each one is accentuated with gold or silver, giving them a slightly more lethal and formidable appearance. William’s work seems to be playing off the expressionless and ruthless appearance of the original Stormtroopers.
William’s smooth, space-age style is carried into his other works, including a series of animal chess pieces. You can view more of his work on his website. For our readers with Star Wars on the mind—as we know, The Force Awakens is released next month—we’re curious about what you think of William’s reimagining of the iconic Stormtroopers; do you prefer this look for your favourite soldiers? What other animals would be fit to protect the Empire? Comment below! (Via designboom)
Artist Brandon Muir creates dark, creepy, digital collages. With creatures such as a vintage pilot whose nose seems to have been burned off, a smiling blue child with red melting eyes, and a boy with a mutated head including a third eye complete with tentacle arms, Brandon Muir’s potential patrons of hell are truly what nightmares are made of. They are reminiscent of The Twilight Zone meets The Munsters meets Basket Case (1982). They are undoubtedly demonic, however, the work also has this sense of playfulness (perhaps solely because they are displayed using the lighthearted platform of the GIF). Muir’s work has an of aura of jest, perhaps taking notes from the type of kitsch found in 1950s horror films. In his own words “[My] one intention with these animations is to ride the line between a disgusted cringe and a smooth chunky chuckle” (source). His process begins as any collage artist’s would — he collects images taken from magazines such as National Geographic and LIFE magazine. After he creates his more traditional collages, he then uses programs such as Photoshop and AfterEffects to formulate the digital rendering. By placing the work into a digital format, Muir allows himself to explore more complex textures, colors, and juxtapositions, creating striking images you can’t seem to get off your mind. (Via The Creators Project)
A performance combining digital lines, monochromatic backgrounds and two individuals. The collaboration for ‘Sparks’ music video, between composer/producer Ralf Hildenbeutel and filmmaker Boris Seewald has created a dynamic choreography shrewdly synchronized with the music, a track from the composer’s new album, ‘Moods’.
The geometric motifs are shaped in lines, cubes, circles and appear sporadically while the two women dancers perform. The electro/classical sound is giving the tempo to the intertwined duo and extremely thin traced patterns. At some point, a hidden shape is moving under a black matte outstretched piece of fabric. The choreography is enhancing the voluptuous ballet moves of both dancers. They appear in order. Black, white and then together. The opposition of colors symbolized by the two dancers is unsettled by the lines, triangles and circles.
The music is leading the game. The staccato tempo in the beginning goes along the fast forwarded gestures of the first dancer. Possibly a few milli-seconds ahead of the choreography; the music is giving us the impression that our intuition is predicting the appearance of the geometric lines and the acceleration of the movements. Taken apart, the 3 concepts (music, patterns and performance) wouldn’t have made any sense. Put together, they create a perfect synergy. (via The Creators Project)
Ralf Hildenbeutel’s new album ‘Moods’ is available for purchase.