Artist and designer Fabrice Le Nezet‘s series Measure precariously positions concrete blocks. Using metal tubing, Le Nezet supports the concrete in way that makes the industrial materials seem nearly organic. The brightly colored pipes cling to the concrete like webs. His intention with the work was to make the materials and its weight easily felt. He says:
“I worked here on a physical representation of the idea of measure. The objective was to ‘materialize’ tension in a sense, to make the notions of weight, distance and angle palpable…This work lies in the context of my search for purification around raw materials such as concrete and metal. This is why I played with simple shapes which catch light and transcend the volume structure.”
Brazilian artist Felipe Guga creates melt-in-your-mouth imagery in sunny Rio de Janeiro. Maybe that’s why his pieces remind me of fruity cocktails and sand in my hair. Guga has successfully designed an array of t-shirts, websites and print ads with his sun-bleached pallete and swirling collage effects.
At a time when makers have more tools at their fingertips than ever before, it’s intriguing to see an artist dedicated to perfecting the use of the most basic, universal medium: pencil on paper. The delicate, slowly unraveling works of Bay Area artist Claire Colette showcase a deep understanding and intimacy with her chosen medium. The works are an investigation of fragmentation—reminiscent of destroyed VHS film, magazine clippings or even slightly fragmented memories. The works reveal the artist’s interest in capturing, remixing and representing an instantaneous moment, despite the fact that each piece is slowly and meticulously rendered in graphite.
English photographer Carl Warner creates realistic landscapes that are made out of food. As an experienced landscape photographer, Warner puts his talents to work in order to reinvent the conventional type. The ‘Foodscapes’ are created in Carl’s London studio where he crafts out each and every little detail (all components completely made out of food) through intricate and laborious steps. The scenes are photographed in layers from foreground to background. The food products used tend to wither quite quickly under the beaming lights, this might take each landscape even more time to get finished.
He first starts off with a set of drawings; he lines up the model-drawings that he would like to work with, and from those he picks the one that will be worked on.
Warner has a team of food stylists and other artists that help him with the process.
“ Although I’m very hands on with my work, I do use model makers and food stylists to help me create the sets. I tend to start with a drawing which I sketch out in order to get the composition worked out, this acts as a blue print for the team to work to.”
“Most of my pieces are small sculptural objects often based on found natural materials. I like giving time to the inconspicuous things that surround us and often go unnoticed, paying attention to small details and the tactile quality of objects. Appropriating traditional craft techniques like weaving and crochet as a means of sculpture brings a contemplative element to the development of my work. I am interested in unusual combinations of materials, the experimentation with fragility and strength and the individual stories that evolve and shape themselves in the process of making.” – Susanna Bauer
Johann Bouche-Billon’s photo-series Photos of my Grandfather Dying is daring in its intimacy and complete honesty. When his grandfather was diagnosed with terminal cancer, Johann used his artwork in an attempt to wrap his head around what was going on. Of all his grandparents, he was closest with this grandfather, and had never experienced a death so close in his family. Although death is a reality of life, many if not all of us have difficulty accepting it, and Johann experienced anxiety attacks and confusion at the fact of his grandfather passing. The series provides an opportunity for healing and understanding, not only for Johann, but presumably anyone experience the death of a loved one. Originally, Johann was nervous that people would take offence at such a personal subject, but has said that the series has been received well.
His photo-series is extremely revealing, and it requires a great deal of bravery to show it to an audience. The photos show his grandfather at various stages of his deterioration, with loved ones or alone, but there are also a great deal of what you could call b-roll interspersed in between. The b-roll – consisting of photos of a food spread, a television, a painting of jesus, etc. – allows moments of contemplation or rest, for the viewer and probably for Johann himself. It makes the process seem more natural, instead of only presenting chronological photos of his grandfather, he lets you breath and wander through traces of his family and the scenes surrounding the events. The series itself is 107 photographs, and so the selection of images I’ve curated for this article is disproportionately weighted towards photographs of Johann’s grandfather. In the end, he is the subject of greatest importance, but I highly recommend checking out the entire series here, it’s extremely moving. (Via Vice)
Italian fashion photographer Lucia Giacani’s series Under My Skin shows just what kind of editorial liberties are taken in this interesting-yet-bizarre photoshoot. Originally shot for Vogue Italy, the colorful images feature a high-fashion model clothed in gorgeous garments while she dons unconventionally-colored makeup. It complements the props used in the photo; surrounding her are medical anatomy of the animal kingdom. Rabbits, goats, and chickens are all halved so we can see their insides.
Giacani’s photographic style is very clear and visual. Nothing is hidden in obscurity, and we see a lot of interesting details in the spotlight. The juxtaposition of the two main elements – the woman and the anatomy – creates a strange narrative. It makes us ask ourselves questions, like, who is this person? How do the two seemingly disparate subjects relate to one another? It’s this ambiguity that makes for a compelling and ultimately unforgettable image. (Via Illusion)
Brookyln based Nicholas Gazin, well equipped with the crass of a seasoned comic artist (and hunter- he writes for VICE magazine and has been working on a series of comic book reviews titled NICK GAZIN’S COMIC BOOK WITCH HUNT), “lives in an anbandoned Polish dentistry shed and calls himself The Toilet Cobra on the internet. His influences include The British Invasion, ska t-shirts (but not ska bands!) and Superman IV. He recently became friends with Napalm Death. Skinheads have commented on the size of his dong.” Needless to say, I am impressed.