Greg Eason of Norfolk, UK, has a hand for drawing very realistic pencil illustrations, to fantastic patterns and sketches that stretch and bend across his sketchbook page. There’s something very comforting in his illustrations, their lifelike feeling, and the vacant page that inhabits the characters of his pieces.
My current work explores the era Anthropocene, working primarily in pencil, and the focus of my current work is driven by the desire to push the physical limitations of scale. I am also interested in the unpredictable nature of pattern; my interest lies in the production of organic linear structures and the suggestion of fluidity through repeated marks.
Ellen Jewett is a Canadian artist who creates flowing sculptural fusions of plants, animals and objects. Among her mystical menagerie is a wild boar with shrubs growing from its mane, foxes with tails sprouting into grass, and a deer whose body resembles a tree-shrouded grove. As singular beasts, Jewett’s creatures are beautiful and dynamic, but look closer and you will see that each one is composed of tinier parts, microcosms of flora, fauna, and objects that weave seamlessly together. These layered components infuse each sculpture with multiple narratives, from celebrations of life and growth, to stories of death, decay, and burden in the form of manmade debris. As Jewett explains:
At first glance my work explores the more modern prosaic concept of nature: a source of serene nostalgia balanced with the more visceral experience of ‘wildness’ as remarkably alien and indifferent. Upon closer inspection of each ‘creature’ the viewer may discover a frieze on which themes as familiar as domestication and as abrasive as domination fall into sharp relief. (Source)
Jewett makes the sculptures from the inside out, layering materials and utilizing negative space to create hollowed works that flow into the air around them: dense frames unravel into breezy foliage and empty space, creating habitats for fluttering, sculpted birds. The results of these disentangled bodies are creatures that speak their strengths via expressions of lightness, vulnerability, and emotion. Jewett describes this effect:
Over time I find my sculptures are evolving to be of greater emotional presence by using less physical substance: I subtract more and more to increase the negative space. The element of weight, which has always seemed so fundamentally tied to the medium of sculpture, is stripped away and the laws of gravity are no longer in full effect. In reading the stories contained in each piece we are forced to acknowledge their emotional gravity cloaked as it is in the light, the feminine, the fragile, and the unknowable. (Source)
As part of her creative and flowing artistic practice, Jewett strives to free her work from materials with toxic properties, such as glazes, paints, and finishes. This greatly limits what she can use, but at the same time, incites her imagination and makes her work even more unique. “Where possible I source the natural, the local, the low impact and, always, the authentic,” she writes (Source). Check out Jewett’s website for more beautiful and holistic creations. (Via Lost at E Minor)
James Esber, a New York based artist, will be featured at the Pierogi Gallery in his new show: You, Me, and Everybody Else. James is known for addressing, through his work, the notions of distortion and perception. Colorful, incredibly wacky, but always engaging. So if you’re in the area, make sure to join James Esber this Friday Nov. 19th for the opening of You, Me, and Everybody Else at the Pierogi Gallery, located at 177 N 9th Street Brooklyn NY 11211.
Seattle’s goCstudio design team has cooked up a dreamy creation that is perfect for the moody weather in the Pacific Northwest. This piece, the “Floating Sauna,” offers a portable, wood-fueled sauna that can be taken and put onto a body of water. This project is nearing fruition as the team is in their final stages of fundraising and will soon begin construction. They have reached out into the community for support and have received an overall enthusiastic response.
GoCstudio was founded in 2012 by architects Jon Gentry and Aimee O’Carroll, who met while they both worked for Olson Kundig Architects.
This team, which has already produced some amazing projects, is moving to embrace a more unique and innovative path. Not only is the technical concept behind the sauna pretty astounding, but the aesthetic presence of it is simple yet elegant. It will add beauty to any horizon it sits on.
As for the logistics of the sauna, they sound pretty spectacular: ” The earliest concepts for the sauna were always focused on the journey to discover this place; creating a unique experience and refuge in the water that would offer a new perspective on the landscape. We imagine people kayaking out to the structure and tying off. The design has a deck, a wood-fired sauna, and a roof platform for canon balls. The rear ladder connects the water, dock, and roof platform. The ‘cool down hatch’ allows hot and sweaty visitors a chance to open the back door and cold plunge directly into the water.
The sauna is designed to fit on a standard size trailer. It can be transported and launched into any accessible still body of water, and when not in use, parked and stored on land.”
As they say on their Kickstarter page, “The sauna is an apotheosis of all experience: Purgatory and paradise; earth and fire; fire and water; sin and forgiveness. It is eternal new birth. You are healed, you are made new.” -Constance Malleson 1936
At age 72, Mernet Larson is having her first solo show in new york right now. Her show Three Chapters is slated to be shown in three consecutive bodies of work– Heads and Bodies, Places, and Narratives. The first two have already come and gone, but if you’re in the NY area you should check out her Narratives chapter at the Johannes Vogt gallery before it gets taken down on the 27th . “These works navigate the divide between abstraction and representation with a form of geometric figuration that owes less to Cubo-Futurism than to de Chirico, architectural rendering and early Renaissance painting of the Sienese kind. They relish human connection and odd, stretched out, sometimes contradictory perspectival effects, often perpetuated by radical shifts in scale.” – New York Times (via)
Sean Landers creates sometimes proud, other times dejected characters with oddly proportioned or placed body parts. Their exaggerated features help to communicate the absurdity Landers seems to see all around us. For instance, the tiny naked butterfly-eared man that stands in front of a microphone as if to try to be heard. It’s a strange proposition.
Much of Landers’ work is covered in handwritten text. It’s difficult to discern in the digital image, but the breasts with rabbit ears, aptly titled “bunny boobs” begins:
“This is preposterous, this Landers is an outrage does he expect us to take him seriously? Not only does he mock modernism but he also writes his mindless drivel all over each of his abominations. I have never read such vapid writing in my life, and his paintings are bad student work. I look at his resume and find he’s been exhibiting all around the globe for the last decade. Has everyone gone mad? Or is it that our standards have been eroded to the point that a hack like Mr. Landers is a celebrated international art star.”
The outraged tone of the fictional art critic is Landers’ response to reception of his work. He ends by saying:
“I get to vent, my paintings get better, they sell, I get confident, bash critics, they bash me back, sales stop, then I have to start over again.”
It’s not clear if this is an invented scenario, or a pattern that Landers often experiences, but certainly this kind of self-deprecating voice flows through his characters as well as in his text. Still, “bunny boob” is smiling out at the viewer (or critic) which makes it seem that it’s ultimately teasing, and maybe more lighthearted than the attitude the text sets.
Tarek Mawad and Friedrich van Schoor have teamed up to light up a forest, using real-time projections to create the effect of bioluminesce. With their digital wizardry, trees glow as though veined with lava and wild mushrooms dance with fairy lights.
The duo spent six weeks in the forest, mapping all the contours of their subjects to ensure the illusion would be complete. Ice blue stripes shimmer and disappear on a tree frog’s back and spiderwebs glint with threads of light. The result is subtle and magical, hinting at undiscovered mysteries just off the beaten path.
Simply named “Bioluminescent Forest,” the project was inspired by the natural bioluminescence found in marine life such as jellyfish and certain deep water creatures; seeing the aquatic lightshow transposed onto land adds yet another layer of intrigue and otherworldliness. (via This Is Colossal)
Andre Beato aka MEDIA.ONE is a graphic designer/illustrator from Lisbon, Portugal. His work is mostly illustrations, corporate identities and typefaces. He has done all sorts of graphic work from print to editorial, working with a wide array of clients including record labels, magazines and clothing companies.