Artist Steven Spazuk really is a master of smoke and mirrors. Well, definitely of smoke. He literally makes his unique images from the burning grey stuff. Using an open flame candle, Spazuk places paper above the heat, collecting deposits of carbon and leaving marks of smoke on his canvas. He then uses feathers, brushes and scraping tools to build his incredibly detailed images of gas masks, dying birds, weapons and soldiers.
His new series of work has just opened at Reed Projects Gallery in Stavanger, Norway (runs until Aug 23rd) Called Smoking Gun and Feathers, the exhibition is a haunting collection of warning images. They are a glimpse into our possible future if we keep abusing the world we inhabit.
Spazuk exposes our collective and institutionalized hubris: the arrogance and entitlement that leads to overconfidence, abuse of power and a distorted vision of success. The plight of birds is contextualized in harsh, yet stunning image compositions, symbolizes the vulnerability of all species in the face of such human egotism. His current work provokes a reflection on the drastic and global impact of our lifestyle on the Earth’s ecosystems. (Source)
We have also previously featured Spazuk’s work here on Beautiful/Decay, so even if you can’t make it to the exhibition, be sure to check out the back catalog of his amazing work.
Beautiful/Decay has partnered with premiere website building platform Made With Color to bring you some of the most exciting contemporary artists working today. Made With Color allows you to create a website that is professional and easy to use with just a few clicks and no coding. This week we bring you the delightfully skewed paintings of Travis Collinson whose gleaming white and minimal website was built using the Madewithcolor.com platform.
San Francisco artist Travis Collinson’s drawing and paintings investigate portraiture, perception and sense of place. His works, though seemingly allegorical, are rooted in a sense of the absurd and abstract. Working from personal photographs and sketches derived from a process of automatism, Collinson selectively couples elements from each, reinterpreting them at a larger scale. Drawing from the influences of both classical painting and minimal abstraction, Collinson’s work creates a framework for people, nature and space to exist in an anxious state of entropy. With a skewed perspective and distortion of unassuming subjects, objects and environments, the artist’s compositions are at once familiar and enigmatic.
Evan Nesbit lives and works in Nevada City, CA. He has just opened his first solo exhibition with Ever Gold San Francisco entitled Light Farming / Heavy Gardening. From the press release: “A recent graduate of the Yale MFA program, Nesbit’s recent body of work includes mixed media paintings, perceptual objects, sculpture and interactive “space blankets”. Through exploration of painterly materials, visual process and participation from the public, this new body of work will explore the imbrication of patterns and experience that structures ones vision, suspended in doubt, sometimes cured in paint. Through the use of constructed “space blankets”, Nesbit challenges the viewer to interact with this exploration by taking refuge beneath their comfort, only to be immersed in the stereoscopic images produced by pin hole camera effects.” The exhibition is on view through April 26th.
Thanks again to everyone who came out to check out our booth at Pool. We were pleasantly surprised to see a number of buyers reppin’ the B/D gear! More shots of our booth and the lovely people who stopped by after the jump!
Artist Livia Marin’s Nomad Patterns is a series of classical ceramics depicted in a most unconventional manner. Her representation of the destruction of ceramics is fascinating in the sense that she has chosen to use melted ceramics rather than breaking, chipping, or shattering them in the way they are known to do. In this sense, she has brought a sort of silent, unconventional destruction to the ceramics in her series.
The fascinating aspect of her work lies in the way the ceramics are being destroyed. She merges the ideas of “care and ruin” by making it difficult to distinguish whether the ceramics are being destroyed or put back together.The fluidity of the melted ceramics and the way that the patterns are maintained add a touch of surrealism to the series. The physically impossible nature of her project as well as the aesthetic aspects of her work make for an original merging of physics and art.
In this sense, her work reaches beyond its artistic capacities and underlines the artistic aspects of physics as well as the merging of science and art. Marin’s work merging of the notions of restoration and destruction also provides a reflection on these two notions, which are, in her work two sides of the same coin.
Though made of clay and designed as functioning vessels, the ceramic vessels created by Prague-based artist and designer Adam Železný are anything but ordinary. Using an innovative method of controlled detonation, Železný sends shockwaves into small refractory containers holding masses of clay to create unique works of art. Appropriately titled “The Blast,” this series of works offers an unconventional approach to a familiar art form— “a kind of punk analogy to an industrial porcelain production.”
Based on complex tests and intricate measures, Železný’s system of charges results in one-of-a-kind bowls spanning various shapes and sizes. While each bowl is undoubtedly a work of art in and of itself, to the artist, it is not the finished product that is key but, rather, the process itself.
In order to capture this fascinating method of production, Železný has documented the entire process in a video. Depicting the artist’s “alternative methods of ceramic shaping,” the short video shows Železný himself as he sets off the explosions and subsequently creates the sculptures. While the video also briefly depicts the project’s initial set up and final, tangible results, its focus remains on the process—which is, ultimately, presented as a work of art.
Australian artist Joseph Marr creates remarkable human-sized sculptures that are made out of sugar. The translucent candy-like texture gives the naked bodies a sensual feel and its color and whimsical appeal. Marr colors the sculptures with ingredients like cola and raspberry fruit; don’t try eating them, though—most are protected by a layer of polyurethane.
Marr uses the delicious medium in order to convey that sexually charged aura that accompanies the stripped down sculptures. According to TreadHunter, the juxtaposition between the sugary syrup and the naked bodies represents the way that sexual relationships can be sweet and satisfying, but also the way in which people get themselves into sticky situations over lust and desire.
Sex sells and so does candy- the combination of both is bound to create extra appeal to the already wonderful creations.
Joseph Marr was born in 1979 in Australia and now lives and works in Berlin.(via Tread Hunter)