Spanish illustrator Irma Gruenholz constructs hand sculpted, three-dimensional scenes using clay. Her surreal compositions primarily involve portraits of rosy-cheeked humans coupled with fantastical characteristics. A woman, posed like a frog, captures small human flies with her long tongue. Another illustration features a woman catching small bits of light between two chopsticks. Gruenholz forms the clay into smooth, elegant figures that don’t immediately read as handmade – they look like they could’ve been digitally produced.
A lot of work goes into crafting these illustrations. Gruenholz individually creates each character each character and scene using sculpting tools and paint. They’re held in place by stands and posed correctly. Scenes are photographed and later edited to remove the supports and produce the illusion that they could possibly be real.
Izumi Kato’s characters resemble angelic porcelain dolls. On the verge of breaking apart, they don’t seem to care. They just are, and that’s why they are so touching. The artist, from the tips of his fingers; with which he paints; brings to life innocent beings with extraterrestrial features. Their googly eyes, cracked noses and little bodies create an eerie harmony in the painting. So much that we would almost want to nurture them in real life.
As if he knew, their “dad” turned them into sculptures. He made them out of wood, three-dimensional, and as moving as their little brothers and sisters.
All that they evoke; strangeness, ambiguity, revulsion or sympathy is meant to dig into our contemplation on relationships. The poetic landscape of morbid embryos leads to question the nature of interaction with others but foremost with oneself.
Izumi Kato elegantly directs the viewer’s eyes to the characters’ heads, growing out of their svelt bodies, totemic figures; a blend of ancient Egypt and tribal African culture. He creates a bridge to our own head and thoughts because he wants the viewer to develop their own ideas from his abstract paintings and sculptures.
“Painting challenges the world. It is an unnatural form that has been singled out from our current three-dimensional living space. There is nothing strange about sculpture in our world, but painting is different. We search for another world in it.”
Robin Williams paints beautiful adolescent subjects performing antiquated tasks, playing dress up in vast fields, and staring at the sky while pondering the meaning of life. You can see her debut solo show in NYC at P.P.O.W on January 27th.
Rosemarie Fiore’s fireworks drawings are literally explosive both in their visuals as well as their technique. Combining collage, paint and live explosives, Fiore creates images that are full of energy, saturated color and unorthodox compositions. Make sure to catch her opening at Priska C. Juschka Fine Art in NYC May 19th- July 2nd.
Black Thorns in the White Cube is a group show that presents work by eight contemporary artists influenced by the “mystic obscurity” of Black Metal music. The exhibitors “explore haunted Germanic forests, descents into the void, visual translations of sonic experiences, ontologies of Black Metal band logos, and barren western landscapes.” Curator Amelia Ishmael is a Black Metal scholar – a mix of curator, art historian, and artist who specializes in the thorny intersections between Black Metal music and contemporary art. She is also the co-editor of Helvete, a journal of Black Metal Theory. The exhibition lands at the Chicago gallery space Western Exhibitions from Kansas City this Friday.
Designer Revital Cohen’sThe Immortal installation consists of five hacked life support machines so that they each keep one another alive. Each machine is circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering. Watch a full video of this piece in action after the jump. (via)
Paris based photographer Ben Sandler’s photography series feel like small freeze frame shots of instantaneous events. I love the architectural detail of each shot, its environment holding just as much weight as it’s action, and the humor behind the predicaments of each character.
“Global Street Food” is a show which is currently running at the Vitra Design Museum in Germany. The exhibition is made up of actual structures used by street food vendors around the world. It was curated by German art director Mike Meiré, who writes that it “is dedicated to the fascination with improvised kitchens in public places; urban fast food stations navigating the contrast between pragmatic dilettantism and complexity in the smallest of spaces.”