In 2000, Belgian multimedia artist Wim Delvoye composed a series of photographs which appear to capture text and note style messages etched on the side of mountain faces. Known for his quirky sculptural style, like his elaborately carved tires, Delvoye manipulated these photographs in order to juxtapose the mundanity of the displayed messages with the sublime, natural beauty of the world’s structures. With messages like “RUDE BUT CUTE 18 YEAR OLD BABE 018 83 87 480” and “HONEY, DON’T FORGET TO TAKE OUT THE GARBAGE. NINA,” Delvoye cleverly elevates the status of these banal declarations to a monumental scale. In Delvoye’s images, absurdities are reinforced while the overall importance of the messages – because of their ubiquity – is not entirely dismissed. Delvoye’s aesthetic is one of recontextualization and deconstruction – even the structure of website is a testament to his implementation well-known imagery in order to create an accessible and familiar user experience. (via public delivery)
Aaron Storck’s paintings of piled up debris and excess junk will have your eyeballs jumping from one corner of his paintings to the next in a game of visual ping pong. The paintings are covered in literally hundreds of patterns, textures, logos, and other delicately painted details. He also does some installation and video work that you can check out on his site. A word of caution his site has a ton of audio and videos that start once you click on a link so if that sort of thing drives you nuts you might want to click on the mute button.
Artist Matt Barton graduated from Carnegie Mellon in 2006, spending his time there setting up mechanized taxidermy animals in strange and colorful situations. In “Time-O-Rama: Electric Infinity with Real Plastic,” made in 2006, there were 20 of those said motorized animals, two video projections, 5 sound cd’s, flowers blooming, leaves falling and changing colors, lightning and thunder, wine was dispensed from a nozzle sticking out of the deer’s ribs…and a partridge on a pear tree. That last one I added myself. Matt has also collaborated with Extreme Animals, hyper bitmosh-rock-band of artist Jacob Ciocci (Paper Rad).
Ukranian illustrator Dehfolt Sister has a nice portfolio of digital collages.
The work of Yinka Shonibare, MBE is filled with the complexity and ambiguity that make art endlessly exciting. Born in London, Shonibare moved to Nigeria when he was three years old and later returned to London to attend college. In a way, his work reflects this personal dynamic between Europe and Africa. However, Shonibare’s work makes it clear that his scope is much larger than that. He skillfully blends traditional textiles, costume, and symbolism from various European and African cultures and times. Through his distinctive work, Shonibare has a way of exploring issues of colonialism in an increasingly shrinking world without taking away any of its complexity. Thus, his work doesn’t inspire political reactionism, but rather sincere thought and deep consideration.
NYC-based artist Julie Evans creates these floating abstractions out of water-based paints on mylar (plastic sheeting). She lets the colors pool in bright puddles, cuts out individual sections, and collages them together to create new, but organic, shapes. Occasionally, soft pencil marks are added to form edges and shadows. Her creations look like something out of biology class; a cross section of a plant, a fragment of a mineral, or a grouping of cells. Though these collages are fabricated by hand, each piece looks like it came straight out of the natural world. Evans is currently displaying her work at the John Davis Gallery in Hudson, NY.
Nicholas Di Genova has developed a unique practice that is as firmly rooted in the utterly fantastical as it is in the deeply scientific. His depictions of hybrid creatures examine wildlife illustration through a Sci-fi lens. Di Genova’s highly detailed, and often encyclopaedic investigations of the natural world, yield monstrosities that are the most unlikely of amalgamations – these can be, for instance, a fusion of cat, goat and snake with cormorant, or tortoise merging into carnivorous plant and even a toad with eight, tentacle-like tongues. His depictions are obviously imagined; but Di Genova’s illustrative precision, makes these Audubon caricatures almost plausible.
His materials are simple; he looks to the conventions of analogue animation, which employs gouache paint on Mylar, or the very basic approach of ink on paper. But Di Genova pushes line-work and a compact colour palette to the extreme; his seamless and fluid application of medium is in the service of an unparalleled intricacy of image. From the tiniest black and white elements (which can be a mere couple of centimetres square) to the robust and colourful, full-sized works, Di Genova’s articulation of shape and texture is nothing short of masterful. See Nicholas’ work at Galerie Dukan Hourdequin in Paris from November 11th-December 3rd 2011.
When looking at the work of Alex Passapera, the first words that come to mind is chaos. He offers an intense and playful ride using skillful illustrative visuals and chaotic narration to portray the intangible something, “mainly instinct”, which becomes a common theme throughout his work.