Peruvian artist Cecilia Paredes gives new meaning to the term “wallflower.” In her recent collection of photographs, entitled “Landscapes,” Paredes seamlessly disappears into a dizzying array of patterned wallpapers, using only paint and, in some cases, simple costumes to complete the transformation. Paredes’ self-painting is so precise that, oftentimes, the only hint of her presence is a flash of sleek brown hair or a pair of gleaming white eyes peering out from the background. Through this disappearing act, Paredes explores themes of displacement and migration, illustrating the difficulties of blending in to new surroundings without completely casting off one’s roots.
While many of us as tourists may walk looking up at the tops of buildings, artist Thomas Lamadieu is looking at the sky. Lamadieu uses negative space to create playful drawings and illustrations. Utilizing photographs of a sky squeezed between rooftops, he illustrates within the patches of blue. The pieces of sky cut out by the buildings are a point of inspiration for Lamadieu culling stories from the shapes he’s dealt. Rather than being a limit, they become a point of departure.
Above is an international street artist who is widely known for his social and political stencils, wooden “arrow mobile” installations, and witty word play paintings. His work has been seen all over Europe and the US.
One of the most integral aspects of photography is the utilization of light. For his series, “Visible Light,” photographer Alexander Harding uses this vital resource as his subject. Harding manipulates natural sunlight, refracting it to create ethereal spaces filled with the soft luminescence of the sun’s rays. Harding says,
Whether it is acknowledged or not, we all have a strong relationship with the sun. Its light enables our visual perception and at times, shapes our emotions. Although the sun affects how we feel, its light remains mysterious and ephemeral. We can feel it on our skin and in our eyes, but it seems intangible to us. We cannot hold or preserve it.
Through my work I explore the sun’s physical presence and quantitative character, attempting to give sunlight an environment to travel within and record its behaviors. I primarily use photography to make my work as its apparatus promotes a very critical and literal type of visual perception and it is processes are controlled by light itself.
Harding’s work asks viewers to consider the centrality and importance of sunlight, and to think of this primary energy source as an art object in and of itself. (via lens scratch)
I realize that Christmas is officially over, but to maintain that holiday spirit for as long as possible I wanted to write about Yrjo Edelmann. Hailing from Sweden, Edelmann worked as a comic strip illustrator for many years until he started to paint. His “parcels” became his signature and caught my eye as exceptional trompe-l’ oeil images. At first I thought they were just giant, poorly wrapped presents, but upon closer inspection I learned that they are in fact impressively intricate oil paintings.
Occupying a space between illusion and hyper-realism Edelmann’s paintings pull from the influences of surrealists such as Rene Magritte, Giorgio de Chirico and Marcel Duchamp. Capturing every wrinkle and tear in the paper Edelmann’s paintings float a few inches off the wall, furthering the confusion about their dimension. A viewer might wonder what’s inside these rather poorly wrapped packages, endowing Edelmann’s paintings with a sense of both mystery and humor.
Jordan Sullivan’s series The Burial Cloud examines and reflects on the rape of his mother in 1973, Petacalco, Mexico. Each photograph is just a glimpse into a memory, a fleeting moment that we cannot hold onto or make sense of. Sullivan has created this series from found photos and letters from his mother, as well as his own staged photography. The tone in the photographs quickly changes from adventurous and carefree to somber and destructive, all the while embodying the same distant vagueness. This leaves us with curiosity and wonder of the events that took place. Sullivan explains:
“[My mother] had traveled with her friends to Petacalco in search of an epic wave that a pair of surfers had recently discovered.”
This series lays out the event just as it would appear as a memory; in fragmented images that shift throughout time. There is no implication of a time or place in much of the imagery, just a window inward reflecting on the human psyche. The emotion of the woman shown, the photographer’s mother, changes from bright and excited to isolated and alone. The Burial Cloud is a journey in which we must piece together a story we cannot fully understand. A story told through disjointed, stunning images that include roaring oceans, burning flora, and scenes of discontent. These ethereal photographs radiate feelings of discovery, doubt, youth, and fear. Sullivan shines light on a delicate subject while beautifully capturing his mother and a tragic past. The Burial Cloud will be released as an illustrated biography in 2016, and will include photographs, text, and collages.
Remi Rough has been incredibly active in the past few years marking the globe repeatedly with his juicy geometric art on huge urban buildings, other unlikely structures and in numerous galleries and museums. The prolific international artist returns to SOZE Gallery in Los Angeles July 19th to open his latest installment of work in his solo exhibit “Remi Rough: Further Adventures in Abstraction.” This exhibit, featuring a mother-load of over fifty new works on canvas, wood and paper, continue the evolution of Rough’s aesthetic, adapted from the mammoth swallowing scale on the streets to intimate smaller works in juicy vibrant palettes. The crisp clean lines and darting yet fluid sense of movement in these works create a tension in their depth, while maintaining a minimal pristine quality in their draftsmanship.