British photographer Nick Veasey uses an x-ray machine to discover the transient magic of everyday things from clothing to stuffed animals, but most beautifully– flowers. Although, the concept is simple, the effect is quite radiant: imagery blooming with intricate nuances, highlighted by surprising shades of light. The whole collection is fine reminder of that medium’s powerful science outside of the airport– that technology doesn’t just serve to protect, but how it also serves to expose.
We often think of bodies as opposed to landscapes. The figure belongs to the portrait and natural scenery to the landscape – bodies inhabit the landscape. For Carl Warner‘s series of photographs, though, the bodies make the landscape. Twisting torsos, bent limbs, crevices, and folds are given finer than the typical attention. Layering of bodies and parts with such focus on detail create landscape like images. Mountains, caverns, and valleys seem to rise out of the figures and become a land of skin. [via]
Hello Kitty was stirring up the Internet in late August because it was discovered that she in not, in fact, a cat. Now in LA, Hello Kitty is once more the object of attention, as Sanrio celebrates the 40th anniversary of Hello Kitty at the Line Hotel by decking some of the rooms out in Hello Kitty paraphernalia and custom furniture.
Many fans were extremely unnerved at the news that Hello Kitty was not a cat. “Her creators think of her as “a cartoon character. She is a little girl. She is a friend. But she is not a cat. She’s never depicted on all fours. She walks and sits like a two-legged creature. She does have a pet cat of her own, however, and it’s called Charmmy Kitty.” (LA Times)
One might argue that, although she is never seen on all fours, she does have whiskers and cat ears, which might indicate she is a cat. It seems odd that Sanrio would insist so fervently that Hello Kitty is not a cat. On the other hand, if that’s how her makers imagine her, it’s an interesting thing to know.
Apparently, Hello Kitty’s fans have not left her after this revelation, as the hotel is fully booked for the duration of the installation’s stay. There are many creative manifestations of Hello Kitty, including toilet paper, couches, baths, and a stall that is graffitied in part with Hello Kitty’s name. (Via Fast Co)
Gallery Nicolai Wallner in Copenhagen recently opened a new solo exhibition by SF based Clare Rojas. From the press release: “Known for her illustrative paintings full of folk art imagery and rich storytelling, this latest body of work is contrastingly minimalist, geometric and abstract.” The show is on view through May 18th 2013.(via)
If the still above seems uncannily familiar to you- it’s because it’s from Michael Jackson’s unforgettable music video, “Thriller;” sans MJ, flesh-eating (choreographed) Zombies, or any sign of human life, for that matter. In the video “Untitled #100, (Fantasia),” artist Josh Azzarella took two years to meticulously remove everything but the murky rolling fog of a smoke machine and ominously ambient noises. The full length feature can be viewed on the humorously titled Funk of 40,000 Years. The result is a haunting look at a seeming post-apocalyptic landscape; robbed of its ghoulish face paint and kitsch, the video is a frightening look at what is left behind. The film is certainly imbued with new symbolic meaning now that the prince of pop himself has left the building, so to speak.
Josh will be showing this video at Mark Moore Gallery this Saturday, from 5-7pm. They will also be showing artist Kim Rugg (who has a similarly “systematic” practice of cutting out every single letter from newspapers and arranging them alphabetically). Shown in conjunction, an interesting dialogue regarding notions of truth and fiction within the media ensues between the two artists. If you are in LA, this exhibition is not to be missed!
Sarah Burwash‘s watercolors weave elements of the past and the present. Her compositions read like narratives, merging elements of community, tradition, and gender into modern mythologies.
Perhaps you want to make your walk through the park more interesting; or maybe you’re dying to sit on the bus and immerse yourself in Jimi Hendrix’s Electric Ladyland while gazing at a psychedelic horizon. Thanks to Hungarian designer Bence Agoston’s “Mood Sunglasses,” you can indulge in a pseudo-trip at your leisure. Accompanying the glasses’ half-circle, 3D-printed frames are six lenses, each imprinted with Moiré patterns that filter blue, green, and red light. When layered and rotated in their frames, the lenses create the visual experiences of LSD without the drug itself.
In discussion with Fastco Design, Agoston explained how the Moods work. “Because each color filters the incoming lights differently, and the patterns can overlap each other or leave blank fields, the new view is completely random and twisted.” Agoston also has versatility in mind, just in case you need a break from your simulated LSD journey: “Mood can also be used with clear lenses, for everyday living.”
Agoston goes on to describe the suggested use of such “hallucinogenic” sunglasses. “The ideal situation for use is during travel, when people listen to music, just looking out the window and watching the ever-changing sights, in perfect harmony with the music. The shape is designed with the aim of simplicity and distinctness, as if the wearer belongs to a kind of subculture” (Source). In short: the Moods are prescribed for anyone who enjoys (or needs) a taste of altered reality. (Via Fastco Design)
Check out Agoston’s work on Behance here.
Henri Darger left 15,000 pages of stories and more than 700 pages of illustrations created in the dark. A fantasy tale blending horrific scenes of war and colorful innocent boys and girls all drawn with penises as the main characters. A world full of meanings and feelings where the silver lining is survival.
In order to understand the illustrations painted by Henry Darger, we need to understand his story. His mother died while giving birth and his father sent him to an asylum where he was allegedly abused at an early age and from where he escaped at age sixteen. He spent the rest of his life working at Catholic institutions by day, secluded in his room by night where he would secretly enter his imaginary make-believe world, a pen in his hand. A self-taught man, he learned how to draw by collecting advertisements, newspaper illustrations. He made collages, layering and tracing the outlines of his precious characters.
The interpretation of the drawings, lets us inside of Henry Darger’s inner turmoil. The heroines are the Vivian girls, blond cute little girls defying furiously and heroically adults, the Glandelinians. They appear dressed up with colorful outfits or naked with a penis. They lead armies, hide, and spy on their opponents; crossing fields of strangled, disemboweled and dismembered children’s corpses.
Suffocation and awkwardness emerges from the scenes and let us feel a glimpse of the strong harsh almost cruel and unbearable emotional state the author endured.
Henry Darger says in his autobiography, In the Realms of the Unreal that he hated the perspective to watch himself become an adult. He never wanted to to grow up. The chaos of his narrative, combined with his violent drawings all turned against adults are the terrifying trace of his past. Never able to recover, he chose to shut down this part of his spirit to any kind of other human beings only to let it come to life as pure art.
He demonstrates the powerful reason to be of art: to express with any kind of means the distress trapped in a human’s soul into something beautiful.
Henry Darger’s illustrations are currently shown at Musée d’Art Moderne in Paris until October 2015.
© Eric Emo / Musée d’Art Moderne / Roger-Viollet