Nobuhiro Nakanishi produces beautifully mesmerizing atypical landscapes. The Osaka, Japan-based artist creates the works, which he called “Layered Drawings,” by photographing a scene over a period of time. He then laser prints each image and mounts it to acrylic. Subtle changes emerge in each frame, and once they are layered they portray an untraditional landscape. As a viewer walks passed the work he or she experiences, to some degree, the passing of time within this particular place.
Interested in the way sculpture is defined by the thought, awareness and the method it employs, Nakanishi seeks to analyze the way we perceive the world. Experiencing a photographic landscape is generally a two-dimensional process whereby a viewer stands in front of an image. She can then empathize with the artist, seeing what he saw in the captured scene, but the experience is always a viewer looking at a flat surface. With Nakanishi’s works, the results are wholly different. The more physical, dimensional aspects of Nakanishi’s sculptural landscapes contain infinitely more detail. The effect is a richer experience. Our minds momentarily transport us to Nakanishi’s foggy forest in the morning, or to his hill overlooking a gorgeous sunset. Nakanishi’s landscapes trigger our memories and senses in a way traditional landscapes cannot.
Like a butterfly stopping by to smell the flowers, Geraldine Javier pauses to interpret her subjects in a manner that they begin to come to life again. She combines both classic and contemporary compositions, injecting Filipino cultural references into each piece. Her attention to detail remains evident, and she even takes it further in her three-dimensional works, using materials like textile, preserved beetles and butterflies, embroidery, and resin to create her arresting works.
Chris Gray is a UK based designer and illustrator currently working in the studio at Love Creative working with clients like BBC, Christian Aid, Playstation, Bollocks to Poverty, Absolut and Dr Martens. His whimsical, iconic aesthetic reduces complex thought systems to catchy graphics that evidence a strong sense of color and play. Chris Gray recently designed Beautiful/Decay’s smash hit “Sex” (pictured above, for purchase here) and “Casual Apple” shirts. Read his full interview after the jump!
Hold on to your eyeballs, Matthew Zefeldt‘s paintings just might wipe them out. Matthew’s enormous paintings seem to use every possible color and it’s obvious that he doesn’t just “like color”– he loves it, and is really good at it. Using color to give control thick, abstract figures form and depth, and flattening his pedestals, Zefeldt’s paintings are a new and wonderful take on impasto abstraction, so thick that some of them look more like a gum wall than a painting. His work is also great because he uses his goopy application to show what portrait paintings really are–paint! But instead of taking a cynical approach to the problem–“oh no, how could we be attaching so much significance and power to these things that are really just a bunch of paint”–his view seems more enthusiastic, as if to say, “yes, this is a bunch of paint–that’s why they’re the best!” I can’t wait to see more. If you want to see some in person, he has a piece hanging until the 10th in a FFDG Gallery group show The Diamond Seaalong with curiot and lots of other young up and comers. If you’re not in the bay area, you can see more of his work after the jump.
Flowers made out of paper mache and Italian crepe create a beautiful aesthetic in the work of Tiffanie Turner. Her technique is presented in various petaled forms some which recall a state of purgatory. These are striking in their faded and withered state somewhere between life and death. They could be her most interesting work because the subjects are not traditionally beautiful and possess character. Through a delicate design they become a metaphor for life and speak about aging beauty. Besides dying flowers, Turner has created giant umbrella sized replicas of Dahlias, Marigolds and Chrysanthemums. These resemble not only the natural state of the subject itself but also hand hooked rugs. Their narrative takes on a more jovial tone celebrating the beauty of these vibrant buds. In larger pieces one can see the minute detailing and extreme care needed to create such an object.
Turner says her interest in the work stems from a lifelong obsession with floral and botanical drawings. Her process begins with a longing for the repetitive and a challenge to create pieces which explore scale. She is a licensed architect who lives in California with her family.
Disturbing creatures and creations bursting out from the photographs of Sarah Sitkin. The Los Angeles based artist renders dark and intriguing images that entice and generate space for introspection. The subjects of the photographs represent the kind of ugliness that attracts. She leaves it to us to draw the limit of where hideous stops and beauty starts.
Sarah Sitkin edits digitally to a minimum. Limiting the use of photoshop, she hand makes most of her props. Costumes, artificial body parts, dramatic lighting and projections are invented by instinct to fulfill the artist’s desire to give birth to her vision. Within the gloomy set up, symbols which seem dear to the artist appear sporadically. Geometric patterns such as triangles and diamonds mimic genitalia shapes. Body parts; fingers, skin and facial features are twisted and rounded until they don’t make sense anymore.
Leaving reality to reach her fantasy world, Sarah Sitkin is inviting us to come along and share her journey. Inspired by Jodorowsky and Kubrick movies, she says she is captivated by images more than plots and dialogues. The photographs do not reflect agression or anxiety. They are the depiction of Sarah Sitkin’s unique field of vision; one where deformation and anamorphosis constitute the basis of an aesthetically beautiful inner world.
This incredibly detailed newspaper art or “lace newspapers” are the work of Canadian paper artist Myriam Dion. Using an Exacto knife and a surgeon’s precision, Dion creates intricate lacey shapes using existing text images from newspapers, cutting out white space and leaving some of the paper image in tact. The results are beautiful new images that have been completely transformed through Dion’s skilled paper cutting and fine attention to detail. She creates other deconstructive work, like her ornate burned photograph series.