Matthieu Bourel creates surreal collages that, despite their dream-like qualities, feel somehow rooted in reality. It might have something to do with his use of black and white photos, summoning up a specter of the past and lending a sort of mythic quality to his art.
In some of his pieces, it almost feels as though they’re still frames of a tall tale as opposed to utter fiction. They feel historically relevant, which, according to Bourel, is part of the intended effect. “When successful, all the elements fall together with irony and tension while all other realities are obliterated, leaving the viewer as participant inside the picture, with his own codes and connections,” Bourel explains. “The image then carries the weight of a personal reality.”
The phrase “personal reality” aptly encapsulates the quiet strangeness of his collages. Bloodless cross-sections of torsos and bodies are more contemplative than gruesome, as though they’re textbook diagrams.
Bourel describes his process as finding pictures and photographs that spark inspiration. He’s drawn to pictures that “evoke a fake history or inspire nostalgia for a period in time that never truly existed.”
“A piece often becomes about the search and desire to combine those emergent narrative symbols that seem charged with a familiar yet distant emotion,” Bourel says.
When I first saw the work of Suzanne Sattler, the first words that came to mind were whimsical and desolate. These delicate drawings express many conflicted emotions in such a fragile yet feminine manner. Focused on successful and failed relationships, she manages to incorporate a relationship between the concept of daily life and that of nature. Some of these narrative illustrations are presented in a monochrome landscape with delicately pencil markings, making them mysterious, whimsical and melancholic.
The people of the United States alone toss out millions of plastic bottles every hour, and in a year, enough plastic film to shrink wrap Texas (which would be both a hilarious and horrifying feat.) Everyone knows it’s important to recycle, but it’s often hard to realize the consequences of forgetting about one little bottle; maybe we should consider not buying this stuff in the first place. (I drink out of the tap all the time, heck, I’d drink out of the hose.) Without getting on a soapbox, the following artists have made powerful statements about the ways in which we waste…. by re-using materials that would otherwise be thrown away, and removing paper and plastics completely from the recycling loop…. as even the act of recycling uses massive amounts of energy.
A rainbow colored sky as a sole view. This is the dream-like scenery imagined by English artist Liz West. In a room where nothing else can be the attraction other than a multitude of colored neons reflected on mirror covered floor and walls. A place where senses and emotions relay thoughts and worries.
‘An Additive Mix’ installation is part of the group show Light Fantastic: Adventures in the Science of Light at the National Media Museum in Bradford, UK. It is a tremendous piece of art comprised of 250 fluorescent lights and 199 different colors. Aware that she has chosen to express her creativity through a rare medium she is proud to have found her signature in using light and colors. The large scale installation reflects the genuine palette the artist wanted to use in order to design an astonishing environment for the public.
An aesthetic Liz West has been nurturing for a long time. Fascinated by colors, and the way they mix together, releasing beams and streams of perfect white light. She wished the viewer could be amazed, tip toeing before entering and being part of the art itself. The purpose being to place the body into a foreign context, powerful and mysterious.
‘I have designed An Additive Mix to be an overwhelming, intense, immersive experience.’
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Scott Greenwalt is an Oakland-based painter whose mixed media works walk the line between geometric order and gruesome chaos. His palette often resembles that of our most decay-prone biological structures and fluids: the dirty beige of crumbling skulls, the electric pink of strained arteries, and the bright green of runny mucus. His compositions exist within empty landscapes or without any background context at all. And it should be hard to look at his work for too long. It hits so hard that we should be running for the hills. Instead, probably due to his immense level of skill, it’s hard to look away. Peep some recent work from the artist below.
Rony Alwin is oftentimes associated with his company Rony’s Photobooth, which sets up photo stations at parties all across the world. However, he somewhat secretly has been taking incredible and iconic pictures of uniquely American still-lifes and landscapes all along, which he encounters while road tripping across the States. His crisp and clean photos of American Flags and abandoned typewriters tell unspoken stories that really pull you in and allow you to create your own narratives around them. I, for one, was totally blown away when I stumbled across these on his personal website and can’t wait for him to release some prints. I mean, yes, his other sites are always exciting to check out, but this set of photos mark a maturity that really showcases his talent and eye for the interesting.