Cyril Costilhes has a very unique relationship to Diego Suarez, the location where he shot his deeply dark photoseries, ‘Grand Circle Diego’. A little over 10 years ago, his father moved there to run a casino, but was returned to France after a tragic motorcycle accident that caused him front lobe dementia, placing him in a coma. Costilhes saw his father’s move as an attempt to start fresh, lured by the beauty of the young women and environment. To Costilhes, his father’s aspirations were an illusion, and one shared by many white men in a similar position, a type of modern colonialism. The underbelly of Diego Suarez is one of desperation, where people of privilege go to seek asylum in a false paradise, and the inhabitants seek salvation through the refugees of reality.
When I google Diego Suarez, the images that surface are of an idyllic seaside town, a stark contrast to the images produced by Costilhes. His experience of the town is mired by that of his father, and he travelled there to resolve the ghosts that still hang over him as his father remains in a coma to this day. The photoseries is compiled as a book, and Costilhes writes about his time spent in Diego Suarez. He imagines the moments leading up to his father’s crash:
What was his last clear, clean thought right before the crash?! Was he daydreaming about the girl he was going to fuck next, daydreaming about his new house on the beach of Ramena, or about the money he was going to make by reselling that ambitious hotel in construction, about what he was going to do next, living in a paradise until the grandiose ending.
Purchase copies of Cyril Costilhes’ book Grand Circle Diegohere.
Robert Jackson is a contemporary still life painter. But don’t let the genre often associated with morbid colors, candles, skulls and wine bottles leave the wrong impression. This painter’s canvases are littered with bright colors, clean compositions and a healthy amount of humor. Jackson’s comical paintings feature assemblies of cakes, water balloons, candies, apple boxes, toy dinosaurs, cactus plants, and balloon dogs.
Jackson actually assembles his scenes in his studio, and is then able to accurately capture the playfulness of the mood – creating something that looks like it came from the Toy Story movies. He paints moments where we sneak a look in on the action figures setting up traps for each other, or skateboarding around the room, crashing into the other toys.
Eager to create moments full of narrative, Jackson develops a simple idea that will either pique your interest, or at the very least being a smile to your face. His balloon dogs go fishing for lobsters; the panda bear toys set up daring tight rope adventures for each other; the dinosaurs all fight over a slice of chocolate cake; and apples mischievously balance water balloons on their head, waiting for the impending disaster.
Jackson uses his whimsical, absurd and post-pop paintings as a tool for people to expand their imagination. He says by using mundane objects as stand ins for people, he can talk about deeper subjects without being too confrontational.
It’s like Star Trek addresses racism, but the audience doesn’t realize that until after the show is over. I have a couple of apples fighting and it’s not until a couple minutes after looking, that the viewer realizes that ‘Oh! This is talking about war!’ (Source)
Artist Kat O’Sullivan spent a large amount of time dazzling up her home in upstate New York to be the psychedelic retreat she had always dreamed of. This run-down 1840s residence that she recently purchased is no longer a run of the mill home! O’Sullivan, who specializes in adding a dash of color to nearly everything she encounters, lit her home up like a rainbow. Working with her partner Mason Brown, they added oddly shaped windows and a unique color scheme. The interior, which is not finished yet, will surely prove to be something entirely unique. The house looks like a candy colored structure out of a fairy tale. As O’Sullivan said on her website:
“This is our crazy home, Calico, the House That Sweaters Built! It’s been quite a renovation journey to get it to its psychedelic rainbow state. This is just the first coat. It will only get weirder.”
That is bound to be an understatement. We can’t wait to see what you do with it! (Excerpt from Site)
The technological wizards at Burton Inc. have developed a 3D laser display that can project images onto thin air. By focusing laser beams onto a single spot and firing the lasers in bursts of 100 times per second, images appear out of nowhere like 21st century pointillist magic. So far, the images are rudimentary, looking for the most part like simple sketches in .GIF form. But it’s still a fantastic advancement of the technology.
“This is the only device that can show text and pictures in mid-air, without using a screen,” says Akira Asano, Burton Inc.’s director and head researcher. The first and foremost application of the technology has been for emergency warnings — such as in a tsunami scenario — or as signals in pedestrian-heavy areas, such as at a crosswalk.
Not only does Burton Inc. hope to see this technology implemented in public spaces but also in people’s personal cars, thereby transforming even civilian vehicles into portable 3D displays. (via This Is Colossal)
Brandon LaGanke and John Carlucci are the duo that make up Gost + Cow Films who have created the world’s first drone filmed pornography (at least as far as anyone on the internet seems to know). This may have you wondering, ‘what does this have to do with art?’, but this project creates major implications for cinematography in general.
The video itself is not really an effective porno. Because it is filmed from so high up, the great majority of the eroticism is lost to lack of detail. The piece is epic, though, and it is quite beautiful and surreal to consider two people making love, or at least having sex, in a vast field, or on top of a strange construction somewhere in a quasi-natural landscape. It creates an entirely different context for the sexual encounters, which in itself is interesting. The artists acknowledge that the film is more an artistic exploration than a true pornographic piece:
“It’s an omniscient point of view, really. We did these shots in places where you couldn’t see much from the ground, but then you put the drone in the air and you can see what’s happening… I would never shoot a real porn like this. If you can’t masturbate to it, man, it’s not a good pornography film.” (Motherboard)
Drones are relatively affordable; you can own one for somewhere between $100-$300. This means that pretty much anyone could be making films like this, assuming they know two people willing to get naked for the camera. Incredible swooping shots of epic landscapes are no longer limited to the cinematographers of planet earth. In Drone Boning, LaGanke and Carlucci either chose not to rest over their subjects, or didn’t posses the knowhow to keep their drone in one spot, but I imagine that it could be accomplished. The idea of an omniscient point of view for film is a tantalizing one. If Drone Boning 2 is ever released, they should try to remain stationary when they reach the couple. Maybe scale the side of an ocean cliff to see two people fucking at its edge. (Via Motherboard)
Artist Peter Madden splices tiny elements to create large collages that are a dizzying combination of imagery. Using pictures extracted from encyclopedias, National Geographic magazines, and found photographs, he arranges all of the disparate pieces to form detailed compositions. The large groups are suspended on a transparent background, as if they are capture a moment in time before everything falls apart.
Madden’s collections create different narrative by virtue of the individual elements’ pairings. Some of the things included in his collages include: exotic birds, monkeys, the letter “m,” fishes, and clocks. They are often formed into some sort of larger shape, such as the outskirts of a giant hole, as if it’s surrounding the eye of a tornado.
The use of so many different pieces and the meticulously-constructed explosion-looking compositions feel as though we’re looking at windy, inclement weather that’s strong enough to make these pieces whip through the air. (via Inkult)
Paris based artist Christophe Guinet has quite literally grown the traditional slogan of Nike (Just Do It) into something completely new. His project is called “Just Grow It” and is a collection of handcrafted iconic sneakers covered in a variety of natural materials. Guinet uses anything from flower petals, buds, seeds, grasses, moss and bark to cover the synthetic shoe. The miniature trees and flower arrangements he plants within the shoe are actually able to continue growing within the soil base. Each shoe has a beautiful color palette, theme and matching stick, branch or flower. These living sneakers are just as thought out as one of Nike’s original designs.
By weaving Nike’s neon laces through these fresh organic flowers, and tacking rough bark onto the symbolic Nike swoosh, Guinet is making a clever comment on Nike’s obsession with new techniques and technologies concentrating mostly on improving nature. He says about his intention:
In these works, one can read a certain dichotomy between the marketing and media world in which we live and ethical values that are dear to me. This is an invitation for all of us to contemplate, to rediscover the beauty of a single seed of a wild grass, the delicacy of a flower, or the smell of the foam.
Even though the shoes are meticulously crafted, and obviously have had many hours of patience spent perfectly shaping the silhouette, Guinet often finishes a piece after a day’s work. Collecting the raw materials early morning, he spends the day finishing the piece and the night time photographing his living creation. To appreciate more of his hard work, go here. (Via FastCodeDesign)
Breaking up is hard to do. And, if executed via text message, it can be even harder.
In her solo exhibition, “It’s Not You,” artist Allison L. Wade explores the proliferating plague of the break-up text. Featuring much-anticipated new additions to her acclaimed series, “Break-Up Texts,” this exhibition once again draws inspiration from the artist’s own love life.
Presented as blocks of text set against painted and photographic backdrops, the text messages featured in “It’s Not You” include those both “sent and received by the artist during dissolving personal relationships.” Citing irony as the basis of her series, Wade’s seemingly arbitrary selection of backdrops—spanning solid, lurid colors, computer-generated gradients, and peculiar images lacking context—emphasize the level of detachment present in the modern-day break-up text.
By pairing emotionally-charged, life-changing words with generic, ambivalent backgrounds, Wade successfully demonstrates the inherent disconnect between break-up texts and the emotions that prompt them.
While some of the text messages featured in “It’s Not You” are bizarrely comical (“Sorry I have been out of touch this week. There was a snow storm and I have been watching movies”), others are undeniably poignant, such as the bleak declaration, “I knew you would do this to me.” Whether silly or sad, it is certain that, as individuals in the 21st Century, there is a break-up text we can all relate to. (via Rick Wester Fine Art)
Check out “It’s Not You” now through January 10, 2015 at New York’s Rick Wester Fine Art!