Miami based artist Asif Farooq builds highly detailed replicas of guns using only found cardboard, an X-Acto Knife, and glue. The weapons are build to mimic their real life counterparts in both detail and size. Farooq constructed 300 of these cardboard replicas in order to create an entire “gun shop”. The atmosphere of danger that surrounds the weapons is contrasted by the nature of his medium. His sculpture not only encourage viewers to confront a fear of the weapons but to also contemplate that fear. Farooq’s work is especially relevant in the midst of recent gun-control debates.
We can like status updates on facebook… we can favorite tweets on twitter… we can give videos a “thumbs-up” on youtube… but why can’t we cry? As the first part of an intensive study into the role of crying in a networked culture, the I cried button is an experiment conducted by Dee Kim & Bistin Chen. Using Google Chrome, you can install the button as a plug-in in youtube and press it when you cry while or after watching something from youtube. The button functions similar to the ‘like’ button, because it quantifies and saves your input, but instead of rating the material with a set of shiny stars, your emotions are gauged by tear drops…
The peculiar, the beautiful, and the unusual come together in the fashion photography of Salomé Vorfas.
With found Flickr photos as his source, Jeremy Rotsztain‘s series Obsessions (Flickr Pets) “document the love and obsession that people have for their pets.” The individual images are color-blocked and reductive, verging on abstract in some instances, yet the subject matter keeps them recognizable and full of personality. Each still is the result of animations made in C++ using the openFrameworks library — which just sounds impressive for a series from 2008, right. Rotsztain’s catalogue has a wealth of series that explore the overlaps of technology, culture, behavior and art.
The painter Tristan Pigott heightens the drama of everyday awkward interactions by imagining the mundane in dreamlike ways; altering proportion and shape to express his subjects’ self-conscious anxiety, he constructs an uncomfortable world dominated by the uncertainty of twenty-something men and women. As they form their adult identities, Pigott’s subjects fret over their appearance and public behavior.
Alcohol, hip clothing, makeup, and grooming products cease to be superficial or incidental and are transformed into poignant markers of inner dialogues. Two female subjects abandon words, opting instead to communicate through their own physical presentation; one applies mascara in her skivvies, while the other furrows her brow at a magazine advertisement. An attractive persona is of the utmost importance; a seductive lip tattoo becomes the subject of another painting, and similarly, a lady is shown carefully eating a hamburger that perfectly coordinates to her outfit, sure not to spill on her blouse.
Further heightening the psychological importance of public surroundings and everyday objects, the artist plays with perception, placing an out-of-context wine glass here, a gravity-defying newspaper there. Similarly, a see-through table alters the hue of the legs below as harsh brushstrokes break the illusion of realism, and a man peers at his watch, his anxiety seemingly circumventing the laws of physics and allowing his body to float above ground.
In this world where identities are malleable and uncertain, the male gaze is uncomfortably prominent. Where a man is shown to watch himself in the mirror, the women are seen with a subtle degree of voyeurism. In mixed company, women peer thoughtfully, even fretfully, at the viewer, where men seem to please only themselves, remaining blissfully unaware of onlookers. When the male subject is nude, his back and face are turned away, but breasts and glances of the unclothed female are directed outwards. Dominated by familiar social anxieties and uncomfortable sexual politics, Pigott’s imaginative public space is perhaps not as surreal as it might seem. (via iGNANT)
Chris Lipomi‘s paintings although vary in color, subject matter and composition, they have a lot movement and layers making them interesting to look at. As well as his sculpture pieces, they have this almost “supernatural” aura about them. He mixes ready made and found materials to build upon this sculptures.
Roger Deckker is an amazing photographer. From landscape to fashion, his work is so rad! With the majority of his fashion photography in black and white or low color saturation, the emotional strength of the image is on point. His photo editing is very fun and creative, which he uses to depict more of a classic 70s style to his images. Check it out!
Libby Black‘s sculptures are delicately pieced together paper, hot glue, and acrylic paint. In this way she recreates everyday objects as designer products. Though Black’s sculptures are constructed with care, each is clearly playful. Rather than use a heavy-handed sarcasm, she seems careful to be at once ironic and earnest, critical and in praise of materialism. Her sculptures effectively investigate a complex love/hate relationship with a name brand life.
Appropriately, Libby Black’s enviable ‘luxury’ sculptures are featured in the “Seven Deadly Sins” themed Beautiful/Decay Book: 9. Be sure to check out Black and many other amazing artists, illustrators, designers, and writers also featured in the book.