The world of Paul Yore is encrypted. Behind the simplistic images hand woven on his tapestries there is a subtle will to provoke our thoughts on gender, identity, consumerism and daily violence. The artist chooses to apply psychedelic vivid colors to ultra detailed illustrations : phalluses shooting out rainbows, youths riding white unicorns, skulls conversing with pigeons, and pigs dressed up as police officers. He designs a whole lot of messages in his work, whether it’s tapestries or large installations made out of an accumulation of toys found on the streets. (One of his last pieces, “Everything is fucked”, was removed from his last show, allegedly representing child sex abuse, see the very two last pictures below).
Paul Yore is protesting in his own way by impregnating the culture of excess on his overflowing tapestries. We are immersed within his dystopia, his family of masturbating characters, naked flying humanized butterflies and cheerful animated vanities. This joyful scenario hides his honest concerns about real debates. The actual consequences of social and cultural nonsense in our existence is a primordial topic. In a world where communicating is done through all kinds of ways, he doesn’t seem to have the freedom he needs to express his ideas. Censorship versus artistic freedom between the artist and the authorities is the culminant point this battle has reached.
For her series Natura Morta, the Russian photographer Maria Ionova-Gribina gives burials to dead animals. Much like fellow artist Emma Kiesel, she finds her deceased subjects abandoned on roadsides. Biking to the sea in summer, she was confronted with roadkill and creatures who had died of natural causes.
Where most might avert their eyes, she examined the called bodies, adorning them with fresh blossoms tenderly picked from her own garden or nearby flower beds. Yet she does not remove or bury the remains; instead, she allows the process of photographing them to stand in for funerary rites, poignantly preserving them in her lens instead of in the earth.
After having these powerful post-mortem portraits taken, the animals are once again vulnerable to the decay and ravages of death, but in this single magnificent instant, their humble yet miraculous existences are celebrated and revered. Juxtaposed against bloodied muzzles, open wounds and limbed stiffened by death are ripe, vibrant flowers symbolizing life and rebirth. On these breathtaking beds of pink, blue, and deep red hues, the creatures appear to be simply sleeping.
Over these dead bodies, we are invited to mourn the individual as well as the fact of our own lost innocence. The series itself is inspired by Ionova-Gribina’s childhood, when she and her brother would bury dead animals they discovered in their paths. Where the adult gaze scans over reminders of death, perhaps the child’s engages with them, and grieves the inevitable hold of mortality. Take a look. (via Feature Shoot)
Photographer Lucia Loiso has a knack for pulling things apart, smashing objects or bending substances in weird ways. He has, in the past, smashed glasses, separated pomegranates, stripped seaweed down, crumpled dead leaves, and squashed petals – all to capture the essence of an object. Her new series Candy is no exception. Loiso has managed to manipulate bits of sweets and candies so that they resemble flowers, leaves and stems. He has twisted, pulled, wrapped and bunched gooey, sticky, shiny candies in numerous ways and placed them on hyper color backgrounds.
Her photographs look like some strange advertisement for the latest Willy Wonka invention from the 50s. Bright orange petals spliced with white ‘veins’ float temptingly on a turquoise backdrop. A trumpet of lilac and cream hover within a blue and pink background. A squiggle of neon blue candy hangs in mid air looking like a 90s computer graphic.
Loiso is managing to pinpoint the thing that makes candy so appealing – the textures, the colors, the viscosity, the sugar. She is effectively capturing his subject in it’s best light, and selling it to us. I for one, want to buy and eat these amazing looking creations – or at least look at them on my wall and enjoy them as eye candy.
We continue our month long series of free outdoor screenings at Space 15 Twenty this Wednesday, May 13th, with “Basquiat.” The screenings are projected on the large outdoor screen located next to the Snack Bar. The movie examines the meteoric rise to art stardom of Basquiat, a young artist renowned for his loose and expressive style- and dating Madonna at the ripe old age of 24! If you’ve never seen this film, Basquiat is the classically Shakespearian figure of the romantic and mysterious tragic-fated artist. The film also continues to explore themes of trends and commodity.
Seating is limited so arrive early to secure a chair, but if you get there late, no worries you can always sit on the floor or bring your own chair! Last week we even had a couple of troopers stand and watch the film!
Drinks, Snacks and Popcorn are available at Snack Bar!
Basquiat- Wed, May 13
Space 15twenty 1520
N. Cahuenga Blvd Los Angeles, CA 90028
See more Beautiful/Decay Movie Times for the month of May after the jump!
Natalia Evelyn Bencicova is a Slovakian photographer who creates works of surreal beauty and supernatural unease. Characterized by dark, sterile rooms built of tile and cement, her settings are eerily reminiscent of abandoned hospitals and vacant catacombs. The models are washed-out and almost alien in their beauty, contorting as they pose nude, or draped in cloth with additional limbs that reach from underneath. They appear human, but also inhuman — and no better is this obscuration of humanity demonstrated than in the images portraying piles of nude bodies sprawling on the floors, crawling up against the walls, or aligning themselves in fleshly, geometric structures. With their faces obscured by torsos and furniture, they seem engaged (or possessed by) a strange ritual that is more about the multitude than the individual.
Part of what makes Bencicova’s work so powerful and provocative are the environments and quasi-theatrical narratives she creates. The hospital-like settings foster an atmosphere that is unsettling for the psyche; writhing and embracing on cold floors or groping at sterile furniture, the characters resemble ghosts in an abstract, emotional ballet. In some of the images, the bodies look like they have been stowed away and forgotten, and are struggling to survive. But in all of Bencicova’s works, there is a haunting magnificence, a reverence for the strength of the human body, and an “opening up” of beauty that extends into the alien and absurd.
Bencicova’s Tumblr is a stunning journey into her darkly alluring and innovative worlds. You can also see more of her work on Behance, and be sure to follow her on Facebook.
American artist and architect Paul Laffoley’s work is usually classified as visionary art or outsider art: most of his pieces are painted on large canvases and combine words and imagery to depict a spiritual architecture of explanation, tackling concepts like dimensionality, time travel through hacking relativity, connecting conceptual threads shared by philosophers through the millennia, and theories about the cosmic origins of mankind.
Illustrator Jed Henry is pretty deep into this series. Using characters from Nintendo video games, Henry creates digital works in the style of Japanese woodblock prints. The pairing makes sense. Nintendo is, after all, a Japanese company. These lend a certain gravity to the characters, which were originally designed to be animated and simple. They establish the narratives behind the games as some sort of Aesopian fable. Donkey Kong is ten times more badass in this version than the actual games. (via)