The Beautiful/Decay book series showcases the most extensive interviews and in-depth features with emerging artists today. Featuring 164 ad-free pages of articles, vivid imagery, collectible art inserts, and more, the hand-numbered book is a source of inspiration you’ll return to time and time again. If you’re discovering art on the internet alone, you’re missing out on the bigger (and yes, less pixelated) picture.
Uta Barth uses photography to capture her own personal dreamy moments with light, and in doing so, exposes its environmental power over our solitude and romance . . . or romance with solitude.
As a viewer, I find myself drawn to the window, the curtain, and the wall in each piece, not only because it’s illuminated accordingly with sharp visceral attention, but also because I’m intrigued with how the mundane awakens. It feels childlike, reminiscient of a world without technology and other busy distractions. Ironically, or maybe not so, it also feels wise– close to death. There’s drama in the little details as the hand pulls back the curtain or the camera approaches the glow. It’s not so much about being a voyeur as it is about being here and being still– sharing the space where light opens into mood and reflection.
Of her work, Barth notes, “In most photographs the subject and the content are one and the same thing. My work is first and foremost about perception.”
To say these pieces are only about composition: space or pattern, would be to ignore the aura around the intention of these images, which are all shot inside her home– there’s a depth that resonates with an almost intrinsic documentary feeling. Unlike James Turrell, she does not appear to be mathematically immersing us in the immediate moment of light and awareness; instead, she’s quoting from the lightness in her own life, and we are privy enough to bear witness.
Well folks the day is here! Beautiful/Decay Book:2 is almost sold out. We only have 25 hand numbered copies left on our shop. Once this book sells out it will NOT be reprinted. Get your copy of this limited edition run of 1,500 now on the B/D Shop for $20!
It comes as no surprise to anyone who idles away hours at a computer screen looking at design and art sites that the cut and paste collage medium is seeing a resurgence in importance. Sharing the internet’s tendencies of immediacy, appropriation and a denial of visual ownership, collage combines anything and everything to create a natural response and reflection of our age.
The collage work of Jesse Draxler similarly combines these strengths and tendencies, though with hand-crafted technique. His mixed-media fusion of found images, typography and design sensibilities thrives in information-overload times, both in drawing inspiration as well as being viewed instantaneously. By finding source material from anything, Draxler is able to ‘remix’ fashion spreads as easily as referencing art movements, crafting a new 2-dimensional language that has an immediate accessibility. This intentional referencing of constant stimulus, which is manipulated first and considering after, is essentially a kind of hyper-consumption of images that might be the descendant of William Burroughs’ cut-up technique. Draxler has no contention with this, saying, “Going through my Tumblr feed is like gathering ammunition which I will use myself, in my own way. I am able to see trends emerge in real-time, and I think about how I can fit those aesthetics into what I do, or even wrap what I do around those aesthetics.” Essentially everything, regardless of theme, origin, niche or intent, has the potential to become inspiration.
Recently featured in Gestalten’s The Age of Collage, a survey of the foremost collage artists working in the world today, Draxler’s ability to draw inspiration from anything fully portrays the strength of the visual remix medium.
Ukrainian-American artist, Maya Hayuk, takes inspiration from an unlikely combination of places, everything from Ukranian Easter eggs and Mexican woven blankets to Mandalas and rorschach tests. Hayuk uses any and every material and subject matter to create whatever fantastic world of shapes and colors she can imagine, all supported with a deep-seated understanding of composition and form. Armed with genuine inspiration and disciplined skill, she is completely unafraid to make whatever excites her, whether that be giant psychedelic murals, Aztec-Disco designs for 10 inch ceramic plates, or custom designs for Sony laptops.
The most fascinating thing about Hayuk is not only her prolific body of work, but how seamlessly she transitions from one medium to the next. Her website features works using acrylic, ink, glitter, spray paint, watercolors, tape, ballpoint pens, and wheat paste on everything from gallery walls to wood panels to the side of a barn. While her work maintains a continuity of style, there is no mistaking how she repeatedly breaks out of her own box, and challenges not only the conventions of visual art, but her personal progression as well. In her works ranging from vibrant patterns to neon or wood-paneled copulations that could make the artists of the Kama Sutra blush, Hayuk confronts both the cerebral and corporal with genuine enthusiasm and an obsessive love for symmetry. In the wild compositions, there is an inherent freedom of expression that is both playful and considered. It’s as if Hayuk is actively exploring the universe through her work, and all we need to do is sit back and enjoy the ride.
Using recycled objects like board game pieces, party straws, and paper fans, Swiss artist Marie Rime created a fantastic set of masks and armor. The separate-yet-similar series are composed of multi-faceted objects that cover the subjects’ entire face and part of their body, forming silhouettes made from the likes of chess pawns and popsicle sticks. It recontextualizes kitsch and transforms the use of these tiny individual elements into a cohesive veil that obscures its model’s face. In both bodies of work, the emphasis is on power and competition. Rime explains her mask project and writes:
In this series, the notion of game is being questioned. I tried to express my fascination with the relationship between the players. I asked myself what the participants are looking for and whether they are trying to disturb, seduce or intimidate opponents. These reflections led to a series of pictures of a female model wearing masks inspired by primitive tribal art, yet created from elements of the games being played in the championships.
Likewise, with the armor, she states, “These costumes, realised with everyday objects, are the starting point of a reflexion of the relationship between power, war and ornament. These women lose their identity and become the support of their clothing.” (Via La Monda)