I’ve always been interested in the creative energy that comes out of Australia and Nick Thompson’s work is just another reason to love the land down under. His work is clean, bold, and full of impact. Watch the video for the image above and see a fantastic selection of his creative output after the jump!
Holland based Eric van Straaten is one of the most technical and talented 3-D sculptors in the world. According to trendwatchers, 3D-printing is the next big thing: in the near future, every household will own a printer that is capable of printing digital three-dimensional objects into a physical object. In the process that is best known under the name ‘Additive Manufacturing’, a 3D-printer builds up a model layer by layer by selectively hardening liquid or powder.
If this powder is a plaster-like material, a model can be directly printed in full color. The 3D-printing of delicate and colored models is far from being just pushing a button, but requires great technical skills. Therefore only a few specialize in this technique and there is no artist who pushes the boundaries of colorized 3D-prints as far as Eric van Straaten.
There is no technique that is capable of achieving such a great degree of hyper(sur)realism as 3D-modeling. At the same time, 3D printing is the only technique with which virtual models can be made actually physically touchable. Physical expressiveness in form and content is the biggest strength of the work of Eric van Straaten: while the sculptures remain to have a certain digital feel to them, the pieces contain a weirdly eroticized corporeality. Balancing on the edge of kitsch, the marzipan-like quality of the material resonates beautifully with the apparent innocence of the scenery. –Prof. Dr. Arnold Ratsberger
Whispery sweet images from brooklyn-based photographer Erin Mulvehill. She’s also the brains behind “The Camera Project,” a magnanimous exploration into how children perceive their environment. Erin believes that beauty will save the world, and she’s doing her best to help speed up the process.
In 2004, artist Kim Alsbrooks began painting regal portraits on discarded cans in a series titled My White Trash Family. The work, which features both male and female subjects dressed in elaborate wigs, stately ascots, and enormous hats, is a juxtaposition of literal trash and fine portraiture. It was as initially inspired by Alsbrooks’ friend, a women’s history professor, who pointed out the historical biases that are present in art. In response, Alsbrooks’ tiny paintings mimic those that you’d find in museum collections. The fact that these exquisite works are produced on trash rather than quality materials is both ironic and amusing.
My White Trash Family is prolific; Alsbrooks has produced over 600 paintings since it started. All beverage cans are pre-flattened, mostly by passing cars or trucks. She describes her technique, writing, “One cannot flatten the trash. It just doesn’t work. It must be found so that there are no wrinkles in the middle and the graphic should be well centered. Then the portraits are found that are complimentary to the particular trash. Generally I depict miniature portraits from the watercolor on ivory era (17th-18th century more or less). The trash is gessoed in the oval shape, image drawn in graphite, painted in oils and varnished.”
Part of the success of this series is found in the dedication to craft, and the fact that she paints miniature portraits really well. But, what ultimately makes these works appealing is not necessarily tangible. The reference to high society and its traditional paths challenged by cheap, “lower class” items is instantly recognizable and relatable at a time when the one percenters rule the world. (Via Booooooom!)
Austrian-born artist Alois Kronschlaeger creates work that exists at the intersection of art and architecture. He is interested in environment and light, and in exploring time and space via geometry. Often referring to his works as “architectural interventions,” Kronschlaeger is fascinated by the way viewers rearrange themselves within a space occupied by one of his interventions.
At times Kronschlaeger’s work feels surreal, as with Habitat, a large-scale installation in the Mammal Hall of the former Grand Rapids Public Museum. For Site:Lab 2012 Kronschlaeger created what he called “a very awkward imagery of juxtaposition.” He took the existing landscape of 27 habitat dioramas built in the mid-20th century and incorporated contemporary architectural interventions. The impact of the combination of the organic and the geometric was strange and disorienting. A viewer wonders about what is real and unreal, an inquiry that requires the him to further analyze his experience.
At other times Kronschlaeger’s work feels like pure science fiction, as with Spire, the massive installation he did for Site:Lab in 2011. For this work Kronschlaeger’s installation occupied three floors of an abandoned commercial building in downtown Grand Rapids. The work took over six weeks to create and the finished project was a grand demonstration of Kronschlaeger’s interest in environment, light and the ways new materials can revive and transform a space.
Kronschlaeger furthers his inquiries in his less dramatic works as well, such as his skylights, wall pieces and smaller sculptures, which I am particularly drawn to. This fall he will finish a large work at MOCA Tuscon (see video below), and will then head to Beijing where he will create another site-specific structure.
Woohoo! The press keeps rolling in for our Spring 2010 line! This week has seen a number of other excellent reviews, including a mention by TWBE that Ben Tegel’s t-shirt, “Greetings from LA” above, looked as “if Paris Hilton turned into Heidi Montag.” I’d say that’s pretty accurate. Other great reviews from Spanky Stokes & Addicteed. Thanks guys, for the blog love!
Premier website builder Made With Color and Beautiful/Decay have teamed up again to bring you exclusive artist features. We show you exciting artists and designers who use Made With Color to create a clean and modern website. But it doesn’t just help artists create a minimal, mobile-responsive website; Made With Color also allows them to do it in only a few minutes without have to know any coding. This week we are featuring the work of New York artist Micah Ganske.
Soft, pale colors mixed with futuristic forms. Micah Ganske’s paintings are the reflection of future habitats and societies, combining the notion of technology degrading population with a hopeful note. Influenced by the ghost-town of Centralia, PA, the artist beautifully depicts abandoned city landscapes.
In his series “My Future Is Always Tomorrow’, technology is taking over. The paintings depict a world overtaken by technology and its effect on human kind. “My new sculptures and drawings express my hope that we will further use technology to improve and evolve our very selves.” Ganske’s vision doesn’t end with just paintings. Along with video and virtual reality experiences he also creates intricate sculptures of spacecrafts using a 3D printer. These are part of his fleet of spacecrafts that are meant to eventually come together to create a larger than life humanoid traveling through space. A symbolic vision to forecast humans embracing technology instead of enduring it.
If Ellie Cryer weren’t focusing on drawing she’d be chasing storms or spotting planes, both of which occupations are probably in high demand seeing as the recent events in Alabama and Pakistan (yes, us killing Osama means we should be on an even higher terror alert). Luckily, despite the allure, her focus seems to be on the drawing board where she brings together an exotic mix of color with human emotion attached to nature and other surreal elements. Enjoy more of he work below.