Japanese artist and illustrator Takahiro Kimura believes that true beauty lies within imperfection. Through his collage work, Kimura tries to expose the vulnerable yet beautiful nature of the human spirit by creating distorted human faces. To achieve a ‘distorted’ aesthetic, the artist cuts and rearranges different images, which he creates, to form one.
Though I am quite interested in various aspects and contradictions which people have inside, I attempt not to think about them in the stage of creation. I’d rather devote my attention to line and exquisite balance of form, mass, composition and color so that[..] the said factors can stand out.
Although his work is lively, there is still a visible hint of darkness that creates an interesting paradox- there is, in fact, a great amount of imperfection within the obvious beauty of these human faces.
Megan Mosholder creates work from the simplest materials, and then illuminates the installations to give the work a unique visual depth and a lasting sensory experience. Mosholder explains, “My practice is centered around site-responsive, sculptural installations that emphasize obscured elements within recognizable objects. Through the utilization of materials such as light, twine, eyelets and wood, I articulate space and present a multi-sensory experience.”
In her work, Support and Seizure (above), the Ohio-born, Brooklyn-based artist immersed herself in the history of the buildings during her Wassaic Artist Residency. By installing to a former livestock auction space, Mosholder visually connects the past of the local’s agrarian history to the current artist residents. The artist says, “I was interested in the revival of the Wassaic, once a forgotten hamlet plagued with home foreclosures. Many of the community members told me how happy they were that the residency was in existence because it brought new life and interest to the area.”
In her previous work Gossamer (below), nylon cord is hand-painted with light-reactive, glow in the dark paint and blacklit to create a radiant blue field of three-dimensional lines. Installed underneath a Hilton Head Island, South Carolina barn, the work was the artist’s largest to date. Built of 15,000 feet of nylon cord, 2000 screw eyes, and taking over 150 hours to construct, Mosholder responds to the utilitarian construct and architectural forms of the site. Explaining that there is more to each piece than just the visual stimulation, viewers should also understand the creative reaction to the implied histories of the building. “These “three-dimensional drawings” bind the social and literal landscape and reawaken for a moment the simple intrigue of looking. They are a visual dialogue about movement, time and dimension and encourage the viewer to appreciate spaces for what they are but also examine their hidden meanings.” (via designboom)
Ben Sanders lives and works in Los Angeles, CA. His wacky acrylic paintings are full of vibrant colors, characters, and objects. Always with a sense of humor, Sanders renders portraits like The Physical Imposibility Of A Politically Correct Thanksgiving Card with glee. Another series focuses on paintings of “Magic Shoes” against exuberant backdrops of slick geometric shapes. His joyfully off-kilter environments are a treat for the senses.
Raul Ronald Moreno‘s digital creations are fun, experimental and in many ways abstract. Most of the work has a cool color pallette but along with playful compositions, he creates a lot of dimension in the work using bright colors to highlight areas of interest.
Peter Pincus is a New York-based ceramic artist whose relatively simple forms are punctuated by blocks of color. The clean and modern pots, urns, and cups are mostly gray with accents of blue, yellow, salmon, and more that are laid side by side in thin strips. Occasionally, gold lines the edges.
The forms are very structured, as are their designs. Colors are evenly portioned and thin lines, contrasting-colored divide gray sections of the ceramics. If we were to remove the surface designs from the clay, they could stand alone as abstract paintings. And, that’s partially the point of Pincus’ work. He writes in an artist statement:
I produce three-dimensional paintings out of pots. The studio challenge is to determine a way to create containers that belong not only on the dinner table, but also elsewhere in the home. Many of my pots are status symbols saved for special occasions, generally deemed distinct because of the value of what they hold rather than for what they are. But to me, in between such occasions, they become canvases that visually illustrate the defining spirit of the times, despite their being utilitarian and made of clay, not canvas. They still need to do their job; to be genuine, they must be functional as well as opulent. But they can be so much more.
Michael Grab creates his own version of land art by balancing rocks in seemingly impossible ways. Using a learned technique involving patience and a sense of balance Grab finds the process therapeutic and meditative. Grab refers to the work as “gravity glue” and says of the work, “Through witnessing what this art has done for me personally over years of practice, my vision grows more and more to encourage others to seek their own “still-point” or inner silence…This art allows one to freely be themselves, manifesting their own particular vibration into a 3D world.”
Grab believes that stone balancing teaches the practitioner lessons through silence. Using language that describes the benefits of self-realization through meditation Grab discusses stone balancing as a spiritual experience. He describes how the fundamental element in balancing is finding a kind of “tripod” for the rock to stand on. Explaining how each rock requires examination to discover the point of balance, Grab says that the biggest challenge is overcoming doubt. Both honoring nature and the importance of time spent by himself Grab believes that the ephemeral nature of the balance encourages contemplations of non-attachment, beauty and even death.
Grab is available for workshops and live performances. Check his website for any upcoming exhibitions so that you can see his process live.
The artwork of Cassandra Smith exists in the space between juxtapositions. Taxidermied animals are often a bit creepy. However, Smith’s stuffed forest friends are also playfully decorated – fish covered in rhinestones, and fur in bright paint. The natural plays with the synthetic, old with the new, and utilitarian with the decorative. She says of her work:
“My work is about manipulations and transformation. It is about exploring the ways that I can enhance and change found objects to give them something they did not have in their former life.” [via]
Sound artist Zimoun creates simple but arresting sound art installations. His stark installations use common objects to noise atmospheres. Zimoun often uses small DC motors with small cotton ball mallets in his work. His newest piece using the motors may be his largest yet. Utilizing over 300 motors, Zimoun neatly installed his piece inside an abandoned chemical tank. The drone of the cotton balls and the echo within the tank produces a hypnotic hum. Check out the video of Zimoun’s installation in action after the jump. [via]