We can’t talk design without talking about the products that make it all happen. When I first heard of Wacom’s forthcoming Inkling I could barely contain my excitement at the possibilities. It works on an up to A4 size paper, you can draw in layers and importing into your computer seems seamless. Imagine what you could do in Adobe Photoshop and Adobe Illustrator with this tool? My current Wacom Intuos is a permanent fixture and I can’t imagine working in Adobe Illustrator without it.
Scott Dalton, an award-winning photographer and filmmaker based in Houston, Texas documents the pilgrimage devoted to Mexican faith healer, Niño Fidencio, in Espinazo, Mexico.
Through the years in Mexican cultural history, Curanderos (Faith Healers) have served an important role in peoples’ medical and spiritual lives. In fact, many of these healers become celebrities, as their miraculous healing creates huge followings. In the early 20th century, El Niño Fidencio became one of the country’s most celebrated healers; today he is regarded as a folk saint by thousands of his devotees, or, as they call them, fidencistas.
In 2009, Dalton traveled to Espinazo to document the festivities devoted to El Niño Fidencio.
“What interested me in the project was just the idea of faith, and how it takes a variety of forms in peoples’ lives. This project just looks at one part of that, but I think it serves a reminder of how important faith is for so many people throughout the world, and how we all come to terms with our own belief system within the context of our own society and environment.”
Fidencistas believe that modern-day curanderos can channel the spirit of Fidencio; these photographs show many of the rituals provided by these modern day healers. To us this looks unusual, cinematic and surreal, but to them these ritualistic activities only mean their salvation. Dalton said he witnessed transformations, in which the eyes of curanderos would roll back and they’d assume a high-pitched voice- taking Fidencio’s spirit in order to heal. (via Slate)
Sean Fader’s background in performance had a heavy hand on the focus of his photography. His consistently conceptually strong pieces of work usually deal with the identity of his self, and the self perceived by those around him. What originally drew me into his work was his series, I Want To Put You On, where he explores the idea of becoming the people he personally admires.
In celebration of the upcoming 4th of July festivities, Beautiful/Decay has decided to launch an explosive 2 week sale! All of our latest Spring ‘09 inventory is on sale from $30 down to $25.95, and all other Beautiful/Decay apparel has been discounted from 10-50%! All of these shirts are close to sold out, and once gone, will not be re-printed. So be sure to take advantage of this opportunity- the sale ends July 15th! Click HERE to visit the shop!
Night Lights is an installation project by YesYesNo, who teamed up with The Church, Inside Out Productions and Electric Canvas, to transform Auckland Ferry Building into the fun-nest most interactive large scale installation project I’ve seen. From technical details of software making, to the audience jumping up and down, playing with this big installation project space, this video will leave a smile on your face and wishing you could have tried jumping and tapping as the folks on the video were.
For the Surrealist digital artist Alex Andreyev, reality gives way to the nightmarish and imaginary; his grotesque urban landscapes are dominated by giant spiders, snakes, and eyeballs. Much like the world of The Wachowshi Brothers’ 1999 film The Matrix, Andreyev’s dreamscape is dystopian, seemingly operated by frightful machines that lurk in dark alleyways and within murky, polluted puddles. Like Neo before the rabbit hole, the artist sits at his computer, delving into his nightmares in search of psychological truths that transcend the laws of reality and escape the revelation of daylight.
By maintaining a graphic comic book aesthetic, Andreyev’s images compose a suspenseful, quick-paced narrative; clearly rendered with computer technology, his subjects appear like online avatars, their experiences symbolic of the human condition without directly mirroring it. Like the Surrealists Odilon Redon and Rene Magritte, the digital artist uses the image of the eye to subvert reality; as eyes wearing grotesquely tall top hats chase a helpless man down a dark, dank underground, we viewers are made to perceive our own eyes as villainous, to assume that what they record might not accurately reflect the world around us. Another sketch presents a man slicing his eyes open with a razor, the implication being that to truly see and to understand, we must endure pain and strife.
In this realm where the inner eye takes precedence over superficial vision, a wondrously dark and lonesome creative space begins to emerge. The spider, a symbol which harkens back to the work of Redon in particular, is used here perhaps to represent the isolation of introspection and of the endlessly complex imagination; as a man retreats into his computer, an arachnid nests in the darkness next door. Similarly, man and beast walk alone in the rain. Take a look. (via TrendHunter)
A while back we posted a great studio visit with NYC painter Brendan Cass. While combing vimeo I stumbled across these 2 videos of Brendan both in the studio and giving a walk through of his show at Lars Bohman gallery in Stockholm. Both videos give an insiders look into Brendan’s techniques, references, and thought process. I appreciated Brendan’s openness and sincerity about his work.
I’ve always loved hearing artists speak about how the create their work. There is so much thought that goes into making a painting that the viewer doesn’t see with a quick glance. This made me think about my own studio practice and all the dots that I try to connect in my head as I’m making work. There are many times when i try out new things in my paintings not knowing if viewers will pick up on it. I guess that’s just how it goes. You’ll never know what the outcome will be if you don’t take that first step and try.
No regrets in Life is a series of human-sized pencil and charcoal portraits of individuals artist Joel Daniel Phillips sees everyday on his street corner in the mission neighborhood of San Francisco. The interesting thing about them is that most are homeless and literally live on that corner. They come from all walks of life, all races young and old. The work Phillips creates allow these folk to become human again and puts them at the forefront so they are the focus of our attention not the shadowy part we look to brush away.
Phillips looks to define the similarities between people of various economic backgrounds and connect them through the unifying element which make us all human. By seeking extremes he captures a poetic narrative. He works similar to an investigative reporter getting up close and personal then taking photos of his subjects. These impressions become muse for powerful drawings. The drawing doesn’t lie and Phillips captures the core of these forgotten citizens with meticulous rendering. As an artist of skill he’s able to keep a record and preserve a moment of our time. In his intuitive statement Phillips talks about the narratives he tries to capture and thinks we cannot know the human race until we draw them.