Matthew Lock lives and works in New Jersey. His drawings and paintings are steeped in science fiction and almost always feature a post-apocalyptic landscape. The subjects that litter his work are both futuristic and decrepit. Death, decay, and disorder are prevalent in Lock’s grim wastelands that are rendered in a rough yet cultivated style championed by Raymond Pettibon. Lock takes inspiration from dark medieval imagery and filters it through his brand of futuristic grunge.
Paul Ripke’s eerie photographs of adult kids with baby adults will have you taking a double take and trying to figure out how these seamless and arresting images were created .
The murals of graffiti artist Peeta definitely, and nearly literally, stand out. Peeta uses a a familiar style peculiar to street art murals and tags. However, using careful perspective and shading, he’s able to create the illusion of depth. His work seems to twist and wind just above the wall’s surface. While Peeta does also create sculptural versions of his street art inspired work, the images featured here are entirely two dimensional. [via]
Telling the story of a young man – the author himself – and his attempts to fly with different kinds of self-made aeroplanes and wings, the photographic series “Sacred bird” by Finnish photographer Janne Lehtinen presents a fictional narrative based on autobiographical facts. Lehtinen – the son of a renowned glider pilot – tries to relive the experiences of his father while himself attempting to leave the ground behind. His numerous efforts to oppose the force of gravity never come to anything, however, and the giant leap into infinity never occurs. While the models he conceives are extravagant, surreal and impressive in their construction, they are nevertheless destined to fail, and remain purposeless, anachronistic reinventions of the human-powered prototypes which marked the pioneering days of aviation. –Dominique Somers
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Min Kim’s collages tend to evoke many feelings at the same time. While they seamlessly combine an almost naive poetic narrative with impeccable skill and adult morals, they offer us a visual language founded both in Korea and America. Kim’s manga-like figures seem to exist in a world where flora and fauna blend together with the earth and the sky, constantly evolving into each others forms. She combines the emotive strengths of Asian comics with the heritage of the psychedelic surrealism of the seventies.
The story of western contemporary art is only of use to her in the most superfluous way, she certainly doesn’t dwell on the past. Instead she looks for visual traditions in different cultures and tries to express their essence in her work. This cultural potpourri is translated to her own language of form and technique, which may be as diverse as her inspiration. We can view the end result as a whole of vibrant color, skilled paper craft and a sense of honest innocence. The stylized figures in her works are often drawn in grey, in contrast with their surroundings. Still, the stories she tries to tell are about blending, about the changing of form and about always becoming. These seemingly contradicting choices symbolize the feeling of being both the same and the other. A feeling all too common in today’s multicultural civilization.
Korean Artist Lee Kwang-Ho portraits of cacti, succulents and other plants take a deeper look at the living objects around us that we take for granted. Lee’s work recalls that of Georgia O’Keefe’s in the way that their zoomed-in focus creates abstractions and make us look at these objects in a different way. Lee’s ability to capture light and movement while maintaining a soft focus on the subject gives the paintings an ethereal, dream-like quality.
Scott Carter creates site specific installations in which all of the objects are constructed from the surrounding walls and floors. “Scott Carter is influenced by the experience of living amongst mass produced materials, spaces and objects that are inherent in contemporary architecture and design. His work manifests as immersive installations and interactive objects that facilitate subtle shifts in value and attempt to redefine utility in relation to everyday experiences. His practice parallels contemporary discourse in art, design, architecture and sound. In short, Carter’s process is undoubtedly unique: upon entering the exhibition space, Carter’s methods are both performative and sculptural: he reshapes the contemporary gallery space by literally excavating sections of the gallery drywall (or floor) and reconstructing a new sculpture or installation from those pieces. Carter’s work is derived from a tactile sense for materials. Through the process of examining materials and their function, he attempts to assert alternate meaning in the built environment and through this act, reveals subtle idiosyncrasies that coincide with the physicality of domestic life. These interventions, ultimately, amount to concise, playful and creative critiques of the way we experience space and the items that inhabit them.” (via)