While many mediums have a constant back and forth debate between an emphasis towards using traditional, conventional methors or more recently available techniques, printmaker Carolyn Frischling does not concern herself with the argument. The Pittsburgh-based artist investigates new techniques in both image creation and printing methods, while continuing to honor the constantly-evolving history of the medium. “I’m proud that printmaking comes out of a long line of democratic, inclusive ideals, that today is at the forefront of technology and creativity.” Like many makers of prints, Frischling uses several simultaneous techniques to achieve the airy and colorful visual textures in her work, differentiated only by the image creation beforehand using computer editing programs. When asked by Beautiful/Decay to explain the benefits of working digitally versus using traditional methods, Frischling first explains, “Digital art enables me to use the same thought processes of traditional printmaking without the toxicity of using traditional materials on a daily basis.”
These moody and ethereal digital works are printed with archival inks on paper, silk, glass and aluminum, heavy with an abstract beauty attached to their process. Frischling further explains her methodology, “Digital printmaking is incredibly nuanced. There is so much more I can do that I couldn’t do in traditional printmaking, although the only reason I understand digital as well as I do, is because the thought processes are the very same. Sometimes I do miss the physicality involved in other kinds of art-making, but my art isn’t about physicality, so I think in this instance,”The medium is the message.”
Ultimately, whether created by physical process or digital manipulation, the works speak for themselves with strong compositions, moody palates, delicate forms and attest to the time spent mastering any artistic discipline. When Frischling explains, “My instinct is always to create movement and energy through use of color and form”, it is a goal separate from process and more located in ambition.
Chris Wilson cakes the canvas in sexy mystery. Temptresses, Sirens, Punk Rock Queens and Fallen Goddesses grace his haunted imagery. The texture in his work is so tangible your eyes can taste the grit. As he rises in the art scene, I most definitely suggest you keep not one, but two eyes watching Mr. Wilson. If you’re free this Friday evening, Chris is showing in a group exhibition at Tempo Royale (@ Wilshire Royale – 2619 Wilshire Blvd.) …I know I’ll be there!
We have featured Daniel Kukla‘s Captive Landscapes project here in the past. In his newest project entitled The Edge Effect Kukla utilizes a mirrored effect to reveal new compositions within environments. Using nothing but a large mirror and a painters easel Daniel forces an Edge Effect. This term is used in the field of ecological sciences to describe the juxtaposition that results in the meeting of two distinct ecosystems. He describes the process as “Using a single visual plane, this series of images unifies the play of temporal phenomena, contrasts of color and texture, and natural interactions of the environment itself.”
Santtu Mustonen, an Amsterdam based graphic designer / illustrator / trippy-gif-maker, that we featured a couple years ago has an all new portfolio bursting with strange shapes, wild lines, and funky color combinations that will make you poke your computer’s screen. This project in particular, a series of illustrated pieces for the 2011 Flow Festival (in collaboration with TSTO), caught our eye. More after the jump…
Etienne de Crecy’s video for their single No Brain is a pixelated, psychedelic, electro trip through 80’s digi-visuals with just the right amount of crazy old man dancing at the end. Watch it after the jump.
I recently stumbled upon Pigasus Gallery, a Berlin based shop that specializes in Polish Poster design. I hadn’t really been aware of the specific design genre of Polish poster design, but after poking around I found a few articles stating that beginning with the period right after World War II, the Polish Union of Artists along with support from all the major art universities set rigorous standards as far as poster design, creating a rich environment that bred a plethora of creative posters that exhibited unqiue imagery as well as technical proficiency….an amazing phenomenon creating some great posters! More after the jump…Check out Liza Manelli’s stockinged legs fashioned into a swastika in the “Cabaret” poster– not sure what to make of that, anyone?
Is it microscopic close-ups of our skin? X-ray images of crop patches from the sky? Processing? Nope, they’re generative drawings by Leonardo Solaas.