Canadian artist Jesjit Gill’s screen printing. Awesome band flyers and posters!
Dear Cult Of Decay,
As you may know Book 4 should have already come out by now. Unfortunately I received an email from our printers last week about an unforeseen delay with our cargo ship. At first I thought pirates So what does this mean for you, our faithful subscribers? Well the good news is that our magazines have just arrived in good ol’ sunny los Angeles. It will take a few days to clear customs and to pack up each book to send your way but you will get book 4 within the next two weeks. I know that the wait is longer than anticipated but I promise that it will be more than worth the wait.
For those of you who haven’t subscribed yet here is your last chance to get on board and get B/D delivered right to your door. Book 4 comes with a signed, full color, editioned silk screen print that will only go to subscribers so make sure you get in on it. Once we close subscriptions in the next couple of days you will miss out on Book 4 and will have to buy it separately at the regular,non-discounted price. Subscriptions are just a click away here.
Since we feel so bad about the delay we have decided to extend our 50% sale until every single subscription has been sent out. This way you can keep getting great deals while you patiently wait for the highly coveted book 4!
Nathalie Miebach’s works brings together science and art by using meteorological and oceanic data as a launching pad for her sculptures, installations, and wall works.
South Korean artist Lila Jang is a sculptor who creates distorted effigies of traditional 18th-century French furniture. From bloated footstools to levitating wall lamps, Jang’s anthropomorphic furniture subverts upper-class affectations into warped Lewis Carroll-inspired imagery, evoking wonder and bewilderment in equal measure at the surreal shapes her furniture take on. Jang received her BFA in Sculpture from Honik University in her hometown of Seoul before moving to Paris to attend École Nationale Supérieure des Beaux-Arts for her MFA, and has since gained international acclaim through group shows and art fairs around the globe. According to Jang, her work is a representation of the current state of humanity, stuck “in the midpoint of that constant struggle between reality and the ideal.”
Jang drew inspiration for the series of fantasy furniture from the limitations she found within her cramped apartment in Paris, where tables and chairs only seemed to fit if they were bent out of shape first. The surreality behind the work is also inspired by Jang’s desire to break away from a quotidian routine, turning familiar, unremarkable furnishings into exceptional works of art. Although the pieces are gestural and whimsical in design, the true achievement of the work lies in its retention of the practical applications of the furniture. Even with the canapé climbing the wall, don’t you still want to curl up in it with a book? It’s all the same with Jang’s less functional pieces, such as the warped dining chairs: one can easily picture her pieces fitting right in at any number of houses built by contemporary architects. Jang’s most recent solo exhibition took place at the Centre Culturel de Coreen in Paris where she now lives, presumably in a larger apartment filled with her collection of fantastically anthropomorphic fittings.
Taking images from auction catalogs, artist Kour Pour translates intricately-patterned carpets onto paneled surfaces. The multi-step process is labor intensive, not to mention large – his work is 8 feet tall. First, Pour scans in the image of a rug and burns it on a silk screen. Then, he uses a broom to begin his underpainting (the texture gives it an appearance of a textile). Afterwards, he silkscreens the design to the panel and begins the work of painting every painstaking detail. The final step is to use an electrical sander to erase the painted surface and expose the layers of the under-painting. What results is work that looks like an faded, well-worn rug.
Pour is both British and Persian, and when he was younger, his father owned a rug shop in England. His work is tied to this past, as he explains in his artist statement:
Carpets were a part of my childhood growing up in England. I remember my Father’s rug shop, and how he would hand-dye sections of carpets that had faded away, in order to bring them back to their original colours. I felt that in doing this, my Father was making an effort to maintain all their history and meaning, as if he was bringing the carpets back to life. When I first moved to Los Angeles I had feelings of displacement and much like the faded carpets, I too felt a part of my history disappear. I started the carpet painting series and noticed how art and objects could play an increasingly important role in our diverse society. Through making these paintings I am constantly learning more about my background and the rich mix of culture that surrounds me and the carpets.
By recreating carpets, Pour highlights their meaning as object, as well as the implications of their surface design. They signify an object of privilege (as their originals come from an auction catalog), and our commodity-based consumer culture. Beyond that, the patterns of animals and men on horses is representational of globalization, a culture’s history, and more. (Via Bmore Art and Flat Surface)
Combining elements of illustration, drawing, and digital media, Ryan Seaman‘s work has a lot movement and a lot of layers. Inspired by photography, painting and drawing, his design contains many elements of grunge, that he successfully combines with other media to create dynamic designs.
A picture of a celebrity taped on a cracked wall. Otto Duecker not only depicts portraits, he also paints the surrounding that goes with it. Like all artists part of the hyperrealism movement (or photorealism) from far, the whole image can be misled for a photograph.
Otto Duecker depicts celebrities from the 20th century such as Mick Jagger, Basquiat, John Lennon, Marilyn Monroe and more surprisingly Yoda. The black and white photos are represented crumpled and torn. Hung by random pieces of tape on a contrasted colored wall, the faces appear naturally brightened and alive. The artist painstakingly reproduces the details of the faces’ features and the cracks which makes the nature of the piece even more confusing to determine.
Hyperrealism allows the artist to guide the viewer to a new intimate examination of the piece. How did the artist depict the whole thing? Did he tape a picture of the celebrity on the wall and reproduced exactly what he was seeing? Do this wall exist in reality? Through this process, the artist gets in the way and the dialogue is not between the painting and the viewer anymore, but between the artist and the viewer. We are seeing the subjects through the artist’s eye and that’s what make the experience unique. (via Faith is torment)
In the endless patterns of mandalas, one can find tranquility through its sacred geometry. You can find this peace in the spiraling colors of the mandalas artist Alison Moyna Greene creates. However, things are not always what they seem in her work. What is mesmerizing and calm at first glance is actually rough and defensive up close. The artist constructs her mandalas with individual cactus spines that jut out of the surface at the viewer. The process of using such a harmful medium by hand does not only take an intense focus, but also can be physically harmful. However, this meditative process of picking this material, painting them individually, and placing them onto their surface is a practice of care and love. Greene takes something painful and turns it into beauty.
The incredibly metaphor for transformation and healing is realized through this intricate series. The artist explains that her work acknowledges the coexistence of light and darkness and explores the balance of both necessary elements. The mandala is a traditional symbol of harmony. In this harmony, we find brilliant colors and winding patterns. However, we also find sharp, unsafe objects that make up this symbol. This contrast makes Greene’s work even more beautiful as she finds comfort in the amazing transformation of suffering into serenity.
This series of artwork uses thorns and cactus spines as a metaphor of changing pain and suffering. The process of hand plucking, hand painting and hand placing speaks about the transformation of pain into beauty and fear into love.
– Alison Moyna Greene