Matt Wisniewski has so much great work on his site that i could do 15 posts about him. However my favorite pieces from the bunch has to be these digital collages that seamlessly blend painting and photography to create gorgeous abstractions of the human figure.
TOMAAS is a Paris-based fashion and beauty photographer whose stunning works explore the way man-made materials and objects accompany us in our daily lives. This particular series, titled Plastic Fantastic, incorporates plastic bags, forks, tubing, straws, bottles, and more into the creation of surreal and cinematic imagery. His white-washed models are both alien and beautiful; with plastic adorning their bodies and faces, what is most often seen as a functional and/or wasteful material becomes the luminescent fabric of space-age fashion.
Throughout his work, TOMAAS is interested in imagery that presents multiple themes. Plastic Fantastic is one such series, wherein he examines the prevalence, significance, and artistic versatility of plastic in our modern-day world. While conceptualizing this project, TOMAAS wanted to emphasize “the design and design choices behind such man-made products” (Source), and furthermore, explore what happens when such functional objects are removed from their normal contexts; take plastic forks and tubing into an arts and beauty studio, arrange them in unusual ways, and suddenly they become eerily beautiful and expressive crowns and dresses.
This approach to plastic as desirable or aesthetically-pleasing may be a bit difficult for us, given its noxious status in environmental discourse. But this is TOMAAS’ intention, to show beauty in unexpected places (and perhaps challenge some ethical perceptions in doing so). “There is no denying that [plastic] is one of the most commonly used materials in today’s society,” TOMAAS writes, describing what inspired him to create the series. By synthesizing plastic with fine art photography, he allows us to see — perhaps with a bit of resistance — beauty in a synthetic material that has become deeply integral to our human habitat.
Check out TOMAAS’ website for more of his works, including a series called Eco-Beauty, wherein he integrates other materials (such as straw and rope) into his photographic narratives. (Via Art Fucks Me)
Zachary Zezima is an illustrator from New York that graduated from Parsons School of Design. His illustrations are unnervingly disoriented and chaotic yet are seemingly able to carry out emotions. The work consists mostly of black and white with touches of colors to accentuate certain parts of the illustration. The characters in his work float in the chaotic backgrounds and play with the elements added in the illustration, making them quite dynamic and interesting to look at.
In Lee Griggs’ pictures, each face has a different shape yet the same human features. The Madrid-based artist is playing with distorted skin and exaggerated stretches by using 3D scans. He is a digital sculptor not afraid to shock. The renderings appear bizarre yet close to reality and open the door to multiple interrogations.
The artist creates his faces by using Arnold for Maya, a program allowing subjects to be twisted and contorted digitally. In his series ‘Deformations’ he uses Maya to deform and Arnold to apply shade and light. The purpose of Lee Griggs is only empirical. Never knowing where his experiments on his software will lead him; he keeps on adjusting, erasing and reapplying the tools on the portraits indefinitely.
The final result is intriguing, the features of the faces are kept as close to reality as possible. The wrinkles, eyebrows, expression of the eyes and the skin tone remain intact. But the character’s expressions are dead serious. The duality between the exaggeration of the faces’ shapes and the stern looks demonstrate the artist’s will to communicate irony and to question the meaning of norms. By creating realistic looking anamorphic portraits Lee Griggs creates a space for introspection. (via Sweet Station)
I believe we were at Adobe Books on 16th Street in San Francisco when Sonny Smith first told me about his ambitious project 100 Records. It was one of many conversations Sonny was having with other artists; simply asking them if they would make artwork for the record cover of a fictitious band. The exhibit opened a few weeks ago at Gallery 16 and instead of writing more about the project, I would invite you to read Victoria Gannon’s review on Art Practical. I would also suggest that you watch KQED‘s feature with words from Sonny Smith himself. Exhibition closes May 28th. Will travel to other cities this Summer/Fall. Enjoy more images after the jump…
I’ve been looking at abstracting the human figure in my own work lately so it was a nice surprise to find the work of Gillian Lambert in my inbox. Gillian’s self portraits contort, bend, twist, and pull her face in every which way creating surprising, grotesque, and beautifully awkward images for us to enjoy!