Lauren DiCioccio uses a simple needle and thread on cotton muslin to mummify and honor an endangered artifact– the printed newspaper. In each piece, as The New York Times’ text fades, its correlating cover portraits puncture the surface with pockets of strung together color, reminding us of a certain tactile human unraveling as we adaptively wave goodbye to the Industrial Age.
Of her craft, DiCioccio states, “The tedious handiwork and obsessive care I employ to create my work aims to remind the viewer of these simple but intimate pieces of everyday life and to provoke a pang of nostalgia for the familiar physicality of these objects.”
Barcelona-based graphic designer Alex Trochut is one of the most innovative typographic artists we’ve ever seen. In his work, he takes all states of matter–– liquids, solids, gases–– and turns them into eye-catching type. His aesthetic style has been tapped by clients ranging from Nike to The Rolling Stones. For fans of sculpture, check out Alex’s Dalí-inspired collaboration with Xavier Mañosa, Skate Fails.
Get your hands on three different prints by the inimitable Alex Trochut, including Chains, Eggs, and Spaghetti at the newly relaunched B/D Shop. In addition to the posters, his art was featured on the cover of Issue T. The same issue features an interview and more full-color spreads of Alex’s work. In it, he had this to say of his design philosophy:
“I think there’s always to be a balance between your work and the time you are living, something you call ‘yours’ in your design and something that is ‘ours,’ as the work should be a reflection of our present moment, too, the cultures that surround us.” (Source)
To bring you all some holiday cheer we’re having a big holiday sale on all of our posters, books and magazines. Now you can get the work of Alex Trochut and other talented artists for a fraction of the price. Simply use promo code “beautifulposters” during check out and save 15% off everything on our shop!
Chad Wys is an artist, designer, and writer from Illinois. Inspired by postmodern thought, Wys’ works examine the reproduction of the image, and the way plural images—as superficial iterations of an original object—operate on us to suggest a sense of meaning and worth.
This theoretical approach is brilliantly exemplified in Wys’ Readymades series, featured here. The Readymades consist of found busts and ceramics that Wys has adorned with eye-popping colors, bold gradients, and silvery tears. By re-contextualizing objects of “antiquity” with garish, modern color schemes, Wys compels the viewer to contemplate their feelings and values in relation to such objects. He explains further on his website:
“By retooling the object and then re-presenting it for the viewer I intend to elaborate on the conversation that takes place between the observer and the reproduction in its ‘initial’ state. Through the reclamation and manipulation of these objects I mean to acknowledge, to underscore, that our possessions can, and often do, manipulate us.” (Source)
Wys observes how, as markers of class and income, art pieces and knickknacks signify arbitrary measures of personal worth. By “disfiguring” the cherished objects, Wys produces a visual, mental disparity that deconstructs their value; the clownish colors show the tenuousness of their “high status.” While subversive in intent, the finished Readymades are curious and beautiful art pieces in and of themselves, at once celebrating and critiquing contemporary art practices and embracing imperfection. The ultimate significance of the works, however, is the viewer’s cognitive responsibility; as Wys states, they are “meant to mean different things to different people who are at different stages of understanding” (Source).
Elizabeth McGrath is a Los Angeles-born artist known for her sculptural explorations of beauty and the grotesque. Her animal figures are both endearing and frightening; with jagged teeth and oozing, bloodshot eyes, they resemble possessed dolls, manifesting horror and fragility all at once. Many of them have been anthropomorphized with human clothing and objects, lending them distinct characters. By distorting beauty into twisted, monstrous reflections of itself, McGrath playfully comments on vanity and materiality and the forces of death and decay that fester right beneath. Her Artist’s Bio elaborates further:
“Inspired by the relationship between the natural world and the detritus of consumer culture, [McGrath] brings forth a new cavalcade of creatures from the darker corners of the streets, the city, the imagination. It is this melancholy interaction between man-made status symbols and suffering specimens of nature that make up her intricate body of work.” (Source)
In addition to her morbid menagerie, McGrath also makes similarly-themed dioramas. Channeling the aesthetics of Tim Burton, tattoo artistry, and the carnivalesque, each creation is a dark miscellany, coupling death with innocence. Visit McGrath’s website and Facebook page to learn more about her work.
Nick Albertson lives and works in Chicago, IL. He meticulously organizes mundane household items such as straws, napkins, rubber bands, and coat hangers until they form a textural tapestry. He then photographs these geometric abstractions and presents them as elaborate patterns. His work reminds the viewer that everything is part of a bigger whole and that beauty can be found in all things.
In 2013, conceptual artist Lenka Clayton created the “One Brown Shoe” project, in which she instructed participants to make a single brown shoe using materials found in their homes. The participants were 100 married couples that spanned 12 countries. They were asked to not discuss the project with their partners, and to construct their shoes in secret. Once each person completed their brown shoe, they could then share it with their spouse.
The type of shoes and materials used runs the gamut. Brown shoes were made from packing tape, knitting, animal crackers, corks, teddy bears, and much more. Materials were both conventional and innovative. One artist, for instance, made a stiletto heel from a nail. Another made use of a nest and quail egg. Some people used actual shoes, which seems like cheating (it isn’t). Despite living in the same household, no couple used the exact same supplies. Size of shoe was also noticeable; Some of them were meant for giants, while other babies.
In writing about the project, Clayton muses, “…each pair of shoes might be seen as a portrait – of two individuals, of one couple, and of the difference between the two.” It shows the artistic differences between the pair, as well as their individual ingenuity and knowledge of materials.
The fact that the shoe-making was in secret was the key to making this project successful. If they hadn’t, I don’t think these shoes would be as interesting. They might look forced, like they were trying (or not trying) to replicate their partner. One Brown Shoe allowed the participants to create freely without criticism. The eventual reveal of the two shoes, which are often very different from one another, is both amusing and telling. When left to their own devices, it’s fascinating to see how two people who share a life together would create something that is so alike or so different. (Via Junk Culture)
Michael Willis‘ visual language doesn’t consist of any single point of reference. Rather, it is a syncretic blend of multiple styles and influences – a sort of hodgepodge of 60s psychedelia, 80s computer graphics, and a modern view of pop culture. Imagery sometimes includes figures that are in the American cultural unconscious – Frank from Blue Velvet, for example, makes an appearance in a drawing. But more often than not this outlook on pop culture, especially looking back towards the 60s and 70s, is expressed through the utilization of stock imagery of anonymous, yet clearly old, photographs of people from days of yore.
Do you know someone who, beneath their clothes, has extensive tattoos? They might look unassuming from the outside, but underneath reveals their impressive collection of body art. That’s the idea behind Vancouver-based photographer Spencer Kovats’ series Uncovered, in which he invites strangers to pose in two photos- one where they appear fully-clothed and the other where we see their ink in all its glory.
The subjects have colorful, full sleeves and backs of intricate designs that showcase the art of tattooing. There is an interesting juxtaposition between the two photos, as someone sheds their skin to who they really are. They look more relaxed and at ease. At the same time, it also challenges us to think about how we judge people and how this changes after we see stripped down.
Kovats is one of 11 photographers participating in the “The Tattoo Project” that began during a long weekend 2010. Hundreds of tattooed people journeyed to shared studio space to pose before the cameras. The photographers captured thousands of portraits that each explored different aspects of body art. (Via Huffington Post)