Nice silkscreen work from California-based illustrator and comics artist Kelsey Short. I dig the muted palette full of green, black, and blue. It perfectly matches her washed out, moody style. A lot of Short’s work is like those rainy days where you’re not bummed that you can’t go outside because the quiet sound of the rain just matches your mood for some reason. Hit the tumblr over here for a little insight into Short’s process (artistic and otherwise), and grab yourself a copy of her zine, “Grid” and some prints at her Etsy shop.
Chicago artist Nick Cave is currently showing at the Fowler Museum. We got a chance to interview him last year. Nick transforms found objects into what he calls “Soundsuits”. These suits are not just sculptural works but meant to be worn. Imagine wearing one of these to the next costume party you attend? Performers inside the suits emit noises, hence the title “Soundsuits”. The above image reminds me of our BD shirt: Explosion. Apparently Cave, an Alvin-Ailey trained dancer, plans to eventually have a world-traveling show with 90 Soundsuit-creatures.
Renata Raksha is an amazing young LA-based fashion photographer whose work has been infused with a strong sense of narrative – secret getaways, furtive glances, mood defining shadows and light. One of the things I find to be most beautiful about her photos is the texture overlaid on top of strong composition. Having worked with and collaborated with a broad range of clients from VANS to local noise band HEALTH, I can definitely see more projects in the future in which she can showcase her talent.
Lina Scheynius is a Swedish model-turned-photographer who skillfully captures both the rawness and tenderness of intimate moments. Inspired by “the forest, books, sleep, music, trains, light, [and] maps,” her images are portraits of ephemeral beauty, peace, and quiet desire, distilling life into the haze of a nude, mid-afternoon dream (Source). Recalling moments of post-coital bliss, the models (often, Lina herself — see her Diary images) sit and lay on unmade beds as sunlight kisses their warmed flesh. The power of touch is explored, as hands grasp together or press into the sole of a foot. Elsewhere, in a flash of intensity that eclipses the whole world, eyes meet in a dark room. Lina’s photography even finds powerful sensuality in unexpected places, such as flesh-toned blossoms or breathless horizons of undulating clouds.
While some of Lina’s photographs recall stronger erotic images — the hand curled into a circle, or lifted undergarments — it is candid, but never crude; emotional and arousing, but never sensationalized. The use of natural light makes the images even more genuine, washing out the skin and warming it at the same time, illuminating soft hairs and creases. Her entire approach is organic. As she writes on her FAQ page:
“I take the day as it comes. I work with natural light so if there is a cloud over the sun then that will effect the mood of the day / picture. And I work with a small automatic camera that allows me to move around a lot. And I never give more directions than I have to, avoiding [the need] to force things.” (Source)
Jeremiah Maddock is a hard guy to pin down. Many have spoken of him as some sort of ghost- a shadowy figure that passes through bars and cafes with a suitcase full of muted drawings, and an unknown past. This legend surrounding the artist, who lives -most of the time- in New York City, creating richly patterned mixed media works populated with ghoulish creatures and tramps, is likely a product of his obvious lack of desire for external validation. It’s clear that Maddock, who has no personal website, maintains a very pure process; he is interested more in the act of creating -and the motivations behind such an act- than any finished product.
I caught up with Jeremiah in-between his extensive travels throughout the interior of the country. Read the interview after the jump, which includes the artist’s thoughts on steez-biting Mayans, art fairs with Josh Keyes in high school, and collaborating with the dead.
Dutch artist Ronald van der Meijs’ “Play it one more time for me La Ville Fumée” is a sound-art installation that works on hand made cigars and refers to the history of Eindhoven city, when it was one of the largest cigar-producing cities of Europe. At that time the city was also called ‘La Ville Fumée’. The installation is in many ways about nature versus culture. The technique used here has an almost machine like character, that is controlled and monitored by a natural and traditional item: the hand made cigar. Because each cigar has its own strength by the natural and traditional way of making, they all have their own fire rate. It is precisely this fact that the installation is not working in a predictable way but rather relates to a more or less natural rhythm. The installation has 4 tuners each control a recorder by means of pistons containing the hand-rolled cigars. There are 4 different recorders: a bass flute, alto, tenor, and a soprano. The pistons with the cigars and the recorders are both controlled by 2 abstract lungs. This sound-art burning cigar installation can be seen as a tribute to the former tobacco industry of Eindhoven city and its thousands of workers and craftsmen. The sound composition is a requiem for the former cigar production industry of Eindhoven. (via)
It’s always interesting to see what graffiti writers do in the fine art world. Some keep rehashing the same work on canvas, losing all of the power that energized the work by having it in the streets. However some artists such as the legendary Dutch graffiti artist Delta take what they’ve learned through their years of painting letterforms and create amazing new works that re-imagine architecture, space, installation and painting. Wondering what Delta’s graffiti looked like back in the day? Click the read more button and check out the last image.