It was a unique call for submissions: “Please send me your best nudes so I can draw them while I figure out my next move.” Seeking inspiration, Brooklyn-based artist Frances Waite posted this message on her Instagram, along with her phone number. Men and women responded enthusiastically, sending her intimate nude selfies of themselves sprawling on beds and squatting over mirrors. Choosing the images she found especially playful and unique—or rather, the nudes “where people [were] being themselves and posing in a way they [thought was] sexy and beautiful”—Waite began recreating them as illustrations, translating mischief and bodily expression into skillfully-drawn portraits (Source). The result is a fun, provoking, and ongoing series titled NUDES.
Waites’ project is one of empowerment, seeking self-expression beyond voyeurism, objectification, and the boundaries of heteronormativity. “I do think that I give people an opportunity to perform a part of themselves they might not display otherwise,” she explains in an interview with The Creators Project. “I’m some weird girl on the internet that wants to draw naked strangers, and I already have a repertoire of images that, I hope, make people feel comfortable doing whatever the hell they want.” (Source) She seeks to create a safe space where people can celebrate their bodies and sexual identities with agency and anonymity.
On the last day of 2009 we thought we’d pick yet another dedicated B/D Flickr Creative Pic Pool members work to post on the blog. This time we bring you Tom Hudson’s hyperspectrum colored collages displayed on his Flickr page full of tasty illustrations, collages, and other eye candy. Tom is 1/4 of a collective called the ‘Nous Vous’, who create everything from drawings to noise performances. That’s quite the spectrum if you ask me.
Remember to join the B/D Flickr Creative Pic Pool as we are always looking for new ways to promote our readers & members! Here’s to an awesome new year filled with tons of visual stimuli!
Presenting your artwork in the best light is always a must. The good people at Made With Color couldn’t agree more and have taken it upon themselves to create one of the easiest and cleanest website building platforms in the world. Made With Colors delivers easy to use websites that are mobile friendly with drag and drop functionality. This week we’ve teamed up with them to feature one of the many artists that use their platform to present their work.
Wandering inside the landscapes of Justin Kim is like entering the consciousness of the artist. Choosing to paint different subjects according to the seasons, he ends up depicting landscapes during warm weather periods, when he can sit outside and take advantage of nature. His inspirations lead his paintbrush. By painting outdoors, Kim surprises himself and improvises on the go. Each painting is filled with soft harmonized colors that have a washed out vintage feel with wide brushstrokes and dense layering that captures the far reaching horizons. The exact locations of each painting is unknown but Kim’s rich sense of color, perspective and space makes us want to run out of our homes and search for these impressive landscapes.
We posted Todd Knowpke’s work a while back but he has some new works on his site so it’s time to take a second look. When i first saw Todd’s work online I thought “wow these are funky shaped stretchers.” It took me a few minutes to realize that I was staring at massive, mind blowing, sewn pieces of fabric! What I love best is that Todd keeps all the various moves that most painters make but makes them his own by introducing sewn fabric into the mix. The result is a collage like surface full of stitching, layered fabric, and awesome detail.
Female naked bodies displayed on a black monochromatic background. Photographer Marius Budu uses nudity to express the human condition. Based in Copenhagen, Denmark he has been working with nude subjects since 2006.
The women’s bodies are perfectly aligned and arranged. Forming shapes where the bodies can no longer be discerned individually. The overall images depict an architectural element rather than a gathering of women. Even though they are naked, there’s no ambiguous feeling upon looking at the photographs. Marius Budu plays with the light and shade; accentuating the different tones of the flesh. The models attitude is strong and focused, creating a powerful configuration.
The message is simple and efficient: to unveil the limitless potential of the human body. In the ‘Flesh Structures’ series, Marius Budu uses the bodies of women to tell us a story, to communicate his vision. Using the most basic mean in its original form, he translates his fascination for the human body into intense visual sculptures, inviting the viewer to “wonder or simply absorb”.
Like melting wax drips and forms new shapes, so does Januz Miralles’ digital manipulations mold his once recognizable subject. The artist digitally applies paint and illustration to change photographs of faces and bodies into otherworldly beings. The figures in his work are left partially untouched, some with only a mouth or an eye peaking through, while the rest is covered by stunning, organic strokes of paint traveling up and across the composition. Although the women in his work look conventionally beautiful, they look even more alluring with globs of thick, digitally applied paint covering most of their faces. Miralles’ highly textural technique alters each figure’s state of being, as if they are ascending to another world or perhaps disintegrating completely.
His captivating, multilayered work shapes form, personality, and identity with his amazing techniques, created mostly digitally on a laptop. His art is quietly beautiful, as you can get lost in the many swirls of color and texture that he integrates into his work, completely transforming the mood. As the artist digitally breaks down his figures, the structure and details seem to break down as well, as if chemicals have been poured over each face. There is a sense of torment and melancholy that surrounds his subjects, like something is being extracted from them, leaving their bodies through the seeping paint. The deep, psychological effect that Miralles’ work holds draws you in to further examine what it is you are looking at, leaving you in mystery.
Single-perspective installations have been extremely popular for the past several years, with the best examples making their rounds instantly on the usual social media platforms. The real shame of this mass exposure is that viewers rarely experience the tactile joy of these illusions, viewing the photographs but never seeing them first-hand. This is especially true with the work of Georges Rousse, a French artist who has been creating his painted perspective installations in abandoned and soon-to-be demolished buildings since the 1980’s.
Finding influence from Land Art as well as specific works like Suprametist painter Kazimir Malevich’s Black Square, Rousse pre-dates the modern trends of illusionistic installation, having perfected his trademark geometric style and his fondness for desolate locations decades ago. According to his site’s bio, Rousse considers himself a painter, sculptor, architect, and ultimately a photographer, but considers his raw material to be his great inspiration: Space. Upon selecting a site, Rousse goes about creating a unique angular perspective, that when photographed, compels the viewer to re-analyze their own surroundings, possibilities, transformations, and ultimately, Space.
Rousse explains, “The convergence of these spaces goes beyond a visual game: Like a hall of mirrors, enigmatic and dizzying, it questions the role of photography as a faithful reproduction of reality; it probes the distances between perception and reality, between imaginary and concrete.” (via My Modern Met)
Inflatables have had an important place in Max Streicher’s work since 1989. In most of his sculptures and installations he has used industrial fans and simple valve mechanisms to animate sewn forms with lifelike gestures. His use of light and papery materials, like Tyvek (and more recently nylon spinnaker), have been significant to the character of their development, specifically to his focus on movement. The weightlessness of this material allows it to respond with surprising subtlety to the action of air within it. Streicher uses air to animate his work because it provides an effortless naturalism. It not only looks right, it feels right, recollecting our sensation of breath.
Inflatables are the medium of enchantment, fantasy and optimism, but things do go wrong. Take the Hindenburg, for example. Macy’s Parade balloon characters occasionally crash into the crowd. In Streicher’s work the distress behind the whimsy takes different forms. Scale is one factor. The giants, for example, are intended to overwhelm. In contrast to similar commercial counterparts, they are out of control. They appear to struggle, but why and to what end? However that sense of disruption is read also depends on what the individual viewer brings to the work. For some, gasping for breath, endlessly straining to rise, portray an image of playfulness, and even resurrection, while for others it is distinctly an image of torture. Both cases however involve physical empathy, a bodily recognition of the elemental—powerful and tenuous—forces that animate us all. (via)