Armed with only a razor blade and a big imagination Parisian artist Thomas Louis Jacques Schmitt AKA Thom Thom slices, cuts, and excavates public billboards and ads to create wonderous works that resemble tile mosaics. As Thom Thom cuts away a the layers of ads new messages, images, and faces appear showing us what was there all along but we could not see. (via)
Marcelo Monreal is a graphic designer and creative director based in Santa Catarina, Brazil. In a project titled Faces [UN] Bonded, Monreal opens up the faces of actors and models and fills them with flowers. Although some of them might be hard to identify from within the ferocious bloom, you’ll see the faces of Julianne Moore, Cara Delevingne, Christopher Walken, and more. By splitting the model’s/actor’s faces along the fine curvatures of their jaws and down the center, the artist accentuates their physical features. The flowers reveal a deeper, more internal vitality.
The idea for Faces [UN] Bonded comes from a very important memory for Marcelo: an insight passed down from his late mother. As he explains in this interview with Dettona, when his mother was dying, they worked in the garden together, and she told him “we are made of flowers” (Source). Marcelo now continues this understanding of human vulnerability and beauty by filling photos with floral arrangements. He seeks to “think, experiment create, recreate, learn, destroy, rebuild” in his work, encouraging all burgeoning artists to explore their potential in a similar, imperfect, and blossoming ways.
The Australian-based photographer Steve Axford captures some mind-boggling fungi, including tropical mushrooms that had likely not been caught on film prior to these images. Compelled to adventure into obscure places left unexplored by most men, the artist documents strange organisms, many of which are found in his native area, the Northern Rivers region of New South Wales. A number of species exhibited in his body of work exist in more temperate zones, like Tasmania and the state of Victoria.
Axford, a retired computer system designer and manager, hopes to marry science and art. His photographs, in addition to being beautiful, are useful in the identification and cataloging of species previously undocumented. Prior to Axford’s efforts, the hairy mycena, a snowy white mushroom with a fuzzy cap and a translucent stem had not been spotted or archived in Australia. The same holds true for the blue leratiomyces, a plant native to New Caledonia and Lord Howe Island.
Seen here in striking detail are the most uncanny of fungi species, each enchanting in its own magical way. Some are bioluminescent, glowing an electric green in the night air; others are impossibly delicate, sprouting elegantly from moistened tree trucks. Unexpected colors spill into nature’s canvas with the growth of purple, blue, pink, and bright red mushrooms. The artist explains that photography has gifted him with the opportunity to slow down and absorb the earthly wonders that surround him; in shooting these strange, spindly lifeforms, he gives us the opportunity to do the same. Take a look. (via Colossal)
Kim Joon utilizes the human body in ways you never thought possible. Marvel at the wonders he creates through body art! After the jump, check out some work from his latest show, “Tatoo & Taboo” at Sundaram Tagore gallery in Hong Kong.
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Any information regarding the details of Brandon Jan Blommeart’s existence can not be found- his current info page is a self reminder to put up some kind of blurb and maybe an animated gif. I like these sculpture/collage things he did with recycled material, though I can’t tell if they are made in a 3D modeling program or out of physical materials (a comment on his in-progress post mentions the former). These abandoned beasts struggling in the wild remind me a little of characters from Miyazaki’s Nausicaa.
Edit: I just got an email back from Brandon (who lives in Canada) with some details breaking somewhat his shroud of mystery. These sculptures are indeed made out of garbage and created for a public arts commission. The final forms will be large vinyl prints wrapping the side of a building. Can’t wait to see photos of when they’re actually up!
Although We Were Once a Fairytale (2007) begins slowly, with Kanye West stumbling drunkenly around a nightclub, the short film offers strange but rare insight into the celebrity/artist/god’s psychological complexes in a totally strange and successful way. He accomplishes this by stabbing himself in a bathroom, and producing a rodent from his guts. One of the main criticisms thrown Kanye’s way (other than pointing to his spectacular ego) is his inability to express himself coherently, but in his collaboration with Spike Jonze, Kanye seems to accomplish seemingly genuine and recognizable sentiment.
At first all of your assumptions about Kanye are affirmed: seeing him act like a shithead around the club, pitching back and forth barely able to stand, he is almost too easy to dislike. It’s about halfway through, when he ends up in the bathroom alone, that things begin to change. After he stabs himself, the vulnerable and repulsive creature he extracts from his streaming red-ribbon viscera creates an inner layer of Kanye most people are perhaps even unwilling to concede to him. Depending on how you look at it, it could be as cheesy/naive Bound 2 music video, but it’s difficult not to respect Kanye for the attempt to bare something deeper even when he is bashed so vehemently by pretty much anyone. The film defies direct interpretations. You have a sense of what the rodent represents: something living within, curious and grotesque, but it’s difficult to make sense of his relationship to the creature when he hands it a miniature knife. The final shot of Kanye’s expression maintains the ambiguity of the event, and keeps you thinking about it long after.
Amanda Nedham’s new body of work Half of Less Than Ten begins at the end. Inspired by Napoleon’s love letters to his wife Josephine, this show imagines monuments which explore the impassioned and often dubious ambition driving the conquest of the body. Only in death, in trying to put a body back together, can we arrive at these irreducible artifacts which aim to hold onto and unravel these narratives. Borrowing from the histories of colonialism, hagiography, anthropology, and phrenology new types of reliquaries are constructed. These stand as monumental love letters that seek to construct a pathology of desire. See Amanda’s show at Le Gallery in Toronto April 5th-29th.