Hanna Putz is an artist out of Vienna who contorts and un-poses her models to make striking photographs of equally striking people. Her camera seems to mummify the models, and in their lifelessness they are incredibly compelling. ( via )
New York-based photographer Alison Brady makes some pretty bizarre photos. Pretty and bizarre. The interesting and different perspective is what catches your eye; instead of a traditional beauty-in-the-person snap, these portraits give the car-accident-look- away urge while simultaneously pushing a strange narrative inside a beautiful anonmity. Take a look after the leap.
The words ‘serif’ and ‘sans serif’ can get a designers heart beating a bit faster – new and interesting fonts can be a inspirational jumping off point. These photograph based letters from New York based photographer Bela Borsodi definitely have a wide appeal. Borsodi uses household objects and empty space so as to nearly make it appear he happened on the letters by chance. He clearly has a knack for making the meticulously planned appear casual. Borsodi’s skill has won him clients such as the Esquire, Details, and the Wall Street Journal. Also, see his work previously here. [via]
Beautiful/Decay has partnered with premiere website building platform Made With Color to bring you some of the most exciting contemporary art work today. Made With Color allows you to build a website that is professional and easy to use with just a few clicks and no coding. It’s so easy, you can start a website and finish it in one afternoon. So if you’re thinking about a website redesign or building a new website, get started on your free trial today. This week we bring you the mixed media sculptures of LA artist Garrett Hayes.
No material is safe when it comes to the dynamic and inventive sculptures of Garrett Hayes. Trained originally as a ceramist, Hayes takes the technical know-how of the world of ceramics and combines it with both found and hand made objects to create shrine like sculptures that are full of disparate materials, surfaces, and textures. His work is a collage of the odd and the ordinary, becoming totemic shrines to anything and nothing in particular.
About his use of materials Hayes states:
These things have all become relics: remnants from time, nature and life, now united in sculpture. They are collected specifically for my desire to see that artifact live on in the new context of my choosing. I consider myself the savior of these things. Without me, they would sit hidden on shelves, end up in the dump, rot away completely, or some other variation on the fate of discarded objects. So, I collect; cut, burn, suspend, stain, paint, sand, wax and sometimes I do nothing. I stack, attach, drape, stretch and alter. I make the pieces that blend in and stick out. Putting on display things that never were intended to be displayed the way they now exist.
Korean artist Kim Joon fabricates images of fragments of hollow porcelain that resemble nude bodies. Through a painstaking digital process, Kim coats the anthropomorphic forms in bold patterns from ceramic brands such as Villeroy & Boch, Herend, and Royal Copenhagen. What results are deceptively convincing surfaces complete with reflection and shadows.
According to Kim tattoos are not only physical inscriptions on the body but also signifiers of mental impressions left on the consciousness. Alluding to society’s weakness for material objects, Kim’s tattoo imagery reflects our obsessions and deep-seated attachments. The artist’s exploration of tattoos stems from his experiences tattooing his peers while in the Korean military. In his earliest works, Kim grappled with the notion of tattoos as socially taboo in Korean society. He created sculptures that mimicked tattooed portions of flesh. Using water-based markers, he embellished latex-coated sponges, creating anonymous parts divorced from the human form. In recent years, Kim’s work has neatly overturned the negative connotations surrounding tattoos in Korea. In his hands, not only do tattoos reflect social habits and desires but they’re also a vehicle for transforming the body into a highly aestheticized object.
I absolutely love these intricate and meditative carvings by Pete Goldlust. Not only is the artists medium of choice everyones favorite childhood drawing tool but each piece was meticulously carved by hand creating totem-like objects that could be held in the palm of your hands. There’s obviously a large Brâncuși influence in each of these works but a “sense of play” is intrigal to all of Goldlust’s creative endeavors. (via)
The artist Stephen Irwin’s work reinterprets the erotic; by scratching away and obscuring unnecessary content from found vintage porn imagery, he constructs a more emotionally climactic vision of love making. Like faded, far away memories of sexual encounters, his images only recall the most poetic and visceral sensations: the insertion of a finger, the flicking of a tongue, private moments of masturbation.
Unlike the work of someone like Von Brandis, Irwin’s images challenge the pornographic inclination to objectify the body, evoking moments of mutual bliss that transcend the material form. Irwin’s hands, limbs, and genitalia stand in for individuals, blurring their identities and ultimately pin-pointing a moment of worshipful self-actualization. The point of orgasm is elevated to spiritual heights when mouths cry out to the heavens. In a particularly sensual piece, the careful insertion of fingers into the vagina harkens back to illustrations of the doubting Thomas fingering the wounds of Christ.
These moments of ecstasy, however, are painfully brief; body parts emerge for an infinite blankness, vanishing just as soon as they appear. A deliberately messy black marker erases the figures, leaving only shadows in its wake; again, a shaded limb fades into whiteness, as if pushed down by a firm hand on the buttocks. The artist’s choice to use vintage images operates as yet another reminder of the temporality of climax.
These images are gloriously unstable and unreliable; for many, it’s impossible to tell if the original pornography was a sketch, painting, or photograph. Here, the lines between fantasy and recollection, between the corporeal and the spiritual, are miraculously indistinguishable. (via Juxtapoz)
Monique Schreijer makes prodigious, multi-colored and wearable wigs. So far, six samples have been designed by the artist in her NYC studio. Each one has a theme and a story leading to dreams and fantasies. Monique Schreijer has created wigs that, aligned together, resemble to a world of tales. Inspired by Sophia Coppola’s Marie Antoinette, braiding her own hair and playing with Barbie dolls when she was a child, she brings something innocent yet symbolic in each wig.
Almost everything including the jewelry is hand made, except for the birds and butterflies. Monique Schreijer uses mixed medias such as of Kanekalon hair, tinted powder, faux pearls, hot glue, feathers, rubber bands, found sticks, wire, glitter, toys, and scraps. She has come up with six wigs over two years. Each wig has a name, a color assigned to it and a detailed theme, narrated on the hair and which is taking most of the space:
‘1.Black – Plague of Marseilles,
2.Red – Queen,
3.Pink – Cotton candy/unicorn,
4.Green – Valley of Cocora,
5.Multicolored/sailboat/dog – California.
6.Blue – Dreamy girl’
Monique Schreijer uses symbols to express what moves her. Ladders to reveal escapism, black skeletons and rats for darkness and evil, flying birds and a flourishing nest for freedom and fertility. Not only are the wigs beautifully crafted, they are a source of creativity and imagination.