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Eiko Ojala’s Delightfully Minimal Cut Paper Illustrations

Eiko Ojala Eiko Ojala Eiko Ojala

Eiko Ojala

Eiko Ojala (whose cut-paper illustrations were previously featured herecrafts quietly-detailed work which straddles the lines of art, design and commercial illustration. Beginning with hand-made illustrations, Ojala then combines physically cut, layered paper and occasionally digital to continue reducing the images until they are clear, concise and minimally fantastic. Subtlety seems to be the strongest method of delivery for the Tallin, Estonia-based illustrator and graphic designer, who describes himself as one who ” likes to study the forms of shapes, and to work closely with light and shadow. He likes to keep his illustrations minimal and well-advised.”

This most recent blue series was created for Intel as an effort to show the insides of anything, and seems a perfect match for the illustrator’s deceptively simple trademark style. Ojala has been increasingly recognized for his commercial efforts, having been been nominated in 2013 for a Young IIllustrators Award at www.illustrative.de, a YCN professional Award and ADC Young Gun. (via hi-fructose)

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Natural gas commercial by Lovo Films

It seems Los Angeles has finally decided to warm up to us and the heat is slowly but surely attacking our foggy lovable city. I was trying to find something to post here that would welcome the heat wave back in LA after months of rain and freezing cold nights. Although this commercial is obviously targeting the concept of using natural gas in “winter”, I feel like if I could describe the heat in LA right now, would be a wool covered house.

The commercial is made by Lovo Films, a company that operates in Europe. They are known for making great commercials for companies like Belgacom, Coca-Cola, Telenet, Yamaha, TDK, Mio, McDonald’s, Gordon Beer, Center Parcs, Renault and Seat. They also have a “making of video” of this awesome commercial.

Now get ready to welcome the heat of Los Angeles with open arms~! HA!

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Liu Di’s Massive Photoshopped Animals Bring Attention To Beijing’s Urban Ruins

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On a crowded bus ride in Beijing, Chinese artist Liu Di noticed his surroundings. “Looking out at the decrepit housing blocks”, he said, “I had a vague but strong feeling that there was something missing between the ground and the sky.” It was then that he had the idea for his 2008 series, Animal Regulation, an almost cinematic display of enlarged animals sitting amongst the ‘urban ruins’ of the city of Beijing. Using photoshop, he seamlessly embedded these wild, large animals into Beijing’s forgotten and depleted back streets, construction sites and tenement courtyards.

With the addition of the gigantic,exotic animals, Di not only tries to fill the void that he notices as he travels through the city, but most importantly, he attempts to draw attention to these spaces in a big and scandalous way. We cannot  help but notice ‘the big panda in the room’, and that, I think, is the kind of reaction the artist is looking for. The metaphorical animal living amongst the city of Beijing alludes to deeper issues here–the void is filled with an unwanted visitor and in order for it to go away something must change.

Di’s political undertones cannot be missed.

“Between nature and human society, between the material world and the intellect, between obedience to and violation of the laws of nature. It is only when our preconceptions are jolted that we wake up and truly see.”

These photographs are part of Barbara Pollack’s My Generation, an exhibition that acts as the first in the U.S  to focus solely on the new post-Mao generation of dissident Chinese artists. The catalogue includes works by Sun Xun, Lu Yang, Ai Wei Wei’s former assistant, Zhao  Zhao and many more. The show is currently being co-presented in two venues simultaneously through a unique collaboration between Tampa Museum of Art and the Museum of Fine Arts in St.Petersburg, FL. My Generation will be on view until September 28th, 2014.

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Justin John Greene

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Sometimes artists, through the most simple of interventions, can do something that profoundly sums up how you feel. Justin John Greene has a whole portfolio of pretty goofy paintings, this one is my favorite. I wish I had made it. It was like in the sea of my mirthful misery, the clouds parted, this painting was delivered and elicited a fleeting moment of joy. Also, you can’t beat his ninja-turtle fort tipi replete with Ren & Stimpy dream catchers below. 

 

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Sex, Murder, And Satan!

Hide yo kids, hide yo wife!

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faye mullen’s I’m An Artist And I Weigh

Does an artist’s, like a pro-wrestler’s, value depend on his or her physical mass? Not necessarily; however, Faye Mullen’s i am an artist and i weigh physically contextualizes the worth of the artist in a quantified way with the intention to resurface the question of self worth and the value of the artist’s creative output.

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Rosanna Webster

Fresh out of college, Brighton University graduate Rosanna Webster has an impressive body of work building. Her series about Shamanism and Tribalism combine photo images and atmosphere into digital collages that will knock your socks off!

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Michelle Mackinnon’s Photorealistic Portraits

Michelle MacKinnon‘s photorealistic portraits use the human face to investigate secrets and their relation to the idea of public/private. The artist explains:

“The series is a combination of a list of exposed secrets, and with no direct link to them, portraits of the sitters expressing their emotions/reactions to their listed secret. Provoked by the idea of confession, this series will explore the public/private relation of people and the exposition of their secrets. By anonymously submitting secrets to the artist and later posing for a portrait depicting their secret, this series strikes an interesting note of juxtaposition between the public and private sphere of secrecy. Publically, these secrets, and therefore their keepers, have been indirectly exposed. Out of instinctive human nature, curiosity drives the viewer to either intuitively match the portrait to their secret, or become empathetic to the portrait deriving from relation to their own secrets. Privately, the confession becomes an outlet for the sitter; a chance to formally acknowledge and confront their secret, yet knowing that, though it may be assumed, no one but themselves will be entirely accurate as to which secret is theirs. It becomes a veiled breach of the private into the public and a connection without fact; after all, we all have secrets.” – Michelle Mackinnon

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