Fashion illustration meets inky goodness in Erin Flannery’s large scale paintings. She notably works with stencils and dewy ink, pen and paint to create these ethereal pieces. Each of her series are full of equally strong, striking portraits of mysteriously lovely ladies. She’s preparing for her 2nd solo show at Anthea Polson Art which is open July 2-16 2011 ( Shops 18-20 Mariners Cove Seaworld Drive Main Beach QLD 4217 )
Since 2009,Tony Orrico has performed his Penwald drawings. Combining elements found in dance, theater and performance art, it explores repetitive movement for long periods of time, bringing drawing’s motion into peril with human physicality. The idea originates in finding a point when an act becomes more than just motor skills and crosses over into the creative process. In Tony’s case, this leaves an aesthetic mark on physical existence in the form of an abstract drawing.
After graduating with an MFA in Choreography from the University of Iowa, Tony joined Shen Wei and Trisha Brown Dance companies. As a principle, he performed in major cities around the globe, including Sydney Opera House. Both troupes known for an avant garde approach ensured that he was never far away from a serious art practice. When he was ready, this enabled him to use the experience he learned as a dancer and combine it with his passion for drawing. One of his first Penwald performances at Postmasters Gallery, NY in 2009, would set the stage for everything that followed. From there, he received an opportunity to perform at The National Academy Of Sciences in Washington DC, and was soon taking his “Penwald” series to venues worldwide. He was one of the few selected to reappropriate performances from Marina Ambramovic’s retrospective, “The Artist is present” at New York’s Museum Of Modern Art, an experience he was honored to have.
His newest project, CARBON, further investigates the relationship between material, body and movement. Again, testing the limits of physical, mental and creative capacity, Tony sleeps in a box of graphite broken off throughout the course of a day, from Mexican pottery bowls. The material is used as a metaphor for life and death. A few recent highlights include performances at The Metz-Pompidou, New Museum, BAM, and solo Exhibits at PPOW Gallery NY, MUAC Mexico and Shoshanna Wayne Gallery Los Angeles.
Sam Burford lives and works in London. Inspired by such films as Star Wars and Blade Runner he creates photographic work in multiple media that encapsulate entire films within them. Take for example his sculpture made out of jesmonite that consists of a time-lapse photograph of Star Wars IV transformed into a surface relief. The film is condensed into an abstract pattern and presented as a three dimensional sculpture. In another piece a time-lapse photographic detail from Blade Runner is highlighted on hand printed film and allowed to curl for a dimensional effect. With his work he serves to reveal the optical patterns inherent in the moving image that can be captured with modern technology.
At first glance, these creations might only look like small sculptures. But, they’re more than that. UK-based Conjurer’s Kitchen crafted these impressive pieces that are actually cakes. The yummy sponge cakes are shaped like surgeries, skulls, and cross-sectioned bodies. They’re bloody, decrepited, and deliciously disgusting. Conjurer’s Kitchen has expertly colored and painted the tiny details like veins on a skull
Annabel de Vetten is the woman behind these fantastic creations. Not surprisingly, she was trained as a sculptor and previously made a living as a painter. Her foyer into food art started when she made her own wedding cake. Now, she draws inspiration from horror films, alternative art, and more; she has a variety of clients. “It’s great! One day I’ll be working on a full-sized replica of the actor from the TV show Dexter for FOX, then I’ll be doing a wedding cake for a couple who runs an S&M business, and the next I’ll be doing a dragon for a wedding at Warwick Castle,” she says.
If her voluptuous women with their cartoon eyes weren’t enough, Lisa Yushavage captured my soul by saying:
“As an artist you’re supposed to spend your life doing something that’d be an utter waste of time for anyone else. And even so, there’s no proof you’re not wasting your life making some total crap.” (Source)
Using her exceptional skill in oil paints to create hyper-hued landscapes with ripe, almost blowsy, nudes is clearly not making crap. With a career that started in the mid 1990s, her work has been the subject of solo exhibitions at prominent institutions, including the Museo Tamayo Arte Contemporáneo, Mexico City; Royal Academy of Arts, London; and the Institute of Contemporary Art, Philadelphia.
“I don’t want my pictures to be up to any good. I like the idea that they’re troublemakers. So if I’m told they’re bad for the world, it pleases me. I don’t want to make something that’s an antidote. I want to pose questions. That’s what I do. I suppose I strive to bother people and be loved for it. That’s the dream.” (Source)
These are erotic pictures of women, painted by a woman. Rather than the patriarchal view of sexual woman as object, these women are sexual for themselves. Sometimes kinky, often controversial, these paintings have been compared to soft-core porn. It’s intended as an insult, but it’s actually a reclaiming of power and the ability to depict women in all their forms. “It’s not about being well behaved,” Yaskavage says. “It’s not about behaving for others.”
The essence of female power is not that women must be desexed, it’s that women can decide how they want to be seen—sexy, silly, powerful, maternal, erotic, masculine, intelligent, profound—any combination of these, and much more. Yaskavage’s women are the creatures of her mind, brought to life through her skill with a paintbrush, and behaving in exactly the way they’re meant to in the worlds she’s created.
Christophe Gilbert is a photography magician if not a full on Sorcerer. From sewing lips onto little kids to creating evening gowns with buckets of paint there isn’t much Christophe can’t pull off without a camera and a little help from our friend the computer.
British artist Richard Galpin has developed a very specific method which he uses to create all of his work, going all the way back to 2001. He shoots photographs in cities and then takes a scalpel to them, stripping away pieces of the image until a new kind of image of urban space – a very futuristic urban space – emerges. So while he is imagining the future, we can still see the vestiges of the past.
Building on the metaphor of the “dome of heaven” as a visual container holding what we know, Carol Prusa creates work consisting of acrylic hemispheres ranging from bowl-sized to six feet in diameter. Initiated in silverpoint drawing on the convex surface and completed with fiber optics, programmed LED’s and videos housed within, these domes are a visual embodiment – a download of sorts – of what it feels like to be alive while in conversation with contested cosmologies.
“My constructed domes are provocative symbols that invoke the idea of the universe and physical objects that allude to real-life structures. In my “canopies,” I explore a number of mathematical models that physicists developed to explain our universe. The mathematics of my expressed geometries offer a spiritual force that organizes structures from the microscopic to the political. Here, geometry isn’t simply abstract but creates a real world, sustained by its own logic.
To realize the startling phenomena that shape our everyday world, I incorporate digital projection and video technology. Like scientists and mathematicians who model emergent behavior, I too yearn to create a radical vision, one that takes into account the chaotic interactions that are central to formation of the universe.
As artists and scientists seek to explain our place, I join the most advanced daydreamers – those who imaginatively visualize a creative matrix and explore otherworldly possibilities – those who embrace indeterminacy and the fundamentally unstable boundaries between infinitesimal and immeasurable realms.”