Moving artistically into photography as a natural extension of his sculptural practice, Kristian Kozul meticulously builds and then photographs, physical dioramas of extraordinary detail designed to tell metaphoric stories and reconstruct histories. As with his earlier sculptures, where concept meets articulation a kind of fetishized totem results. Each piece is based on a certain historical figure that Kozul leverages in pursuit of his cause. Like Captain Ahab and Moby Dick, or famously Don Quixote and his windmills, the fixations and obsessions of Kozul’s protagonist’s speak to universal themes of mania, obsession, and denial.
For his series Evolution of Type, the artist and graphic designer Andreas Scheiger creates living, breathing fonts; his ABC’s might be dissected like a human limb, revealing boney spines and straining ligaments. With surgical precision, the flesh of his curvy S is pulled back in a manner that is both grotesque and sensuous. In this strange marriage of art, language, and science, the artist is inspired in part by Victorian sentiments and the emergence of Charles Darwin’s On The Origin of Species and the theory of evolution, which spurred medical debate and disillusioned many a spiritualist.
Scheiger’s work is profoundly influenced by seminal Vicorian text The Alphabet and Elements of Lettering, written by Frederic W. Goudy, the designer behind famous typefaces like Copperplate Gothic and Goudy Old Style. Schneiger imagines the literal manifestations of Goudy’s analogies, which compared lettering to animated organisms; like creatures extinct and in existence, language too has a history, bringing with it the ability to record and preserve human thoughts and discoveries.
Within Schneiger’s imaginative font, E’s are skinned to reveal a muscular-skeletal system; deeper still, is a network of red and blue veins and capillaries that transport oxygen to some unknown organ. Much like actual bodies, these letters are capable of deterioration and decay; a G appears lifeless, mounted like dinosaur bones. Similarly, a P gets trapped and preserved in amber, and a prehistoric J is fossilized in stone. The terms “the life of language” or “the body of text” become spell-binding realities in this whimsical and thoughtful series. Take a look. (via KoiKoiKoi)
Dylan Rabe is a fellow artist and friend and colleague of mine. His illustrative works contain all things one could hope to see in a painting. Executed with bold colors and painstaking attention to detail, they fuse together theatrical narratives with assemblages of eccentric subjects, symbolic props, aged furniture, and elaborate décor; he successfully fits all such things into a single painting, typically creating medium to large-scale works. Dylan derives influence from a variety of sources such as 1950’s pulp art, soap operas, science fiction and romance novels. His work is enigmatic and enchanting, and I hope to see Dylan’s work gain further recognition in the future.
Matthew The Horse is an illustrator from across the pond. Check him out.
The relationships of women to themselves and their environment fuel the narratives of Jennifer Nehrbass’ paintings and are formed from the binary oppositions between the images. By dismantling the roles and stereotypes of beauty and femininity Nehrbass examines the psychology that leads women to go to extremes to maintain beauty and style.
Swiss Artist Zimoun creates sound sculptures and installation art that is a little bit strange. Equal parts raw, industrial materials; equal parts mechanical elements, he creates rooms full of what seem like living and breathing objects. He combines cardboard boxes, plastic bags, old furniture, packaging tape, wires, light tubes, cotton balls and motors to transform a space into something very unexpected.
His low-fi sound architecture follows on in John Cage’s footsteps, an artist he says he thought a lot about when he was younger. Zimoun explains his fascination with combining sound, strong visual elements and bringing obsolete technology to life:
I’m interested in a mix of living structures on the one hand, and control about decisions and details on the other. A combination of structures continuously generating or evolving by chance, chain reactions or other generative systems, and a specifically delimited and contained space in which these events are allowed to happen.
By drawing our attention to these often over-looked, or under-valued materials, Zimoun forces us to examine the nature in industrial materials, and the industrial in nature.
His sound sculptures are a combination of clean modernist structures, and the forces of chaos reacting against each other. We see how the patterns and rhythms of machines slowly change, the longer they are allowed to run. Like Cage, Zimoun allows a great deal of chance affect his work. He lets his mechanical sculptures run for an indeterminable amount of time, allowing the space to become a self-governing, organic space. Zimoun’s art very easily blurs the lines between nature and man/machine.
I was snooping around Cargofolio today and found this lovely gem. Not only is Yu Jie Wu an amazing experimental photographer, he is a high school student. I am consistently impressed by how ambitious and talented some of the artists from the younger generation are. His work explores time, motion and repetition within a single scene. I see a lot of work that uses repetitive imagery, but I think that Yu Jie Wu has done it better. He is subtle, and the images he chooses to repeat force the viewer to notice small differences, or recognize that there is sometimes no difference at all.