I know this video is a tad on the cheesy side of the spectrum but you gotta admit that it’s interesting to see these Van Gogh portraits shapeshifting from one work to the next. The most bizarre part is that the expression never changes once.
I love the simplicity and quirky nature of London based illustrator Tom Pearce‘s work.
Brighton, England’s very own artist Seiko Kato’s work is something you think you’d find at an antique boutique. But looking closer, it’s not necessarily something you would buy for your grandmother’s birthday. Her work is Victorian era meets contemporary design. Kato’s inspiration lies in Victorian medical books, old Victorian drawings and encyclopedias, and Victorian paraphernalia. Kato is also a collage artist and illustrator.
Barry X Ball’s personally selected subjects all start their floating-head lives as plaster casts that eventually becoming impaled on some sort of suspended device. They’re scanned by 3D laser scanners then meticulously carved into portraitures that bear high resemblance to their subjects. One of such was Matthew Barney, whose head was installed on a 69 inch spike of plated gold. Hey guys…what do you say? Barneys instead of Jacks?
Monica Menez’s photographs are everything you’d ever want in fashion photographs with the perfect mix of sex ladies, playful themes, and creative ingenuity.
Nazario Graziano is an Italian freelance illustrator, art-director, and graphic-designer who’s illustrations are clean cut, quirky, and playful.
Amidst the violence and chaos ravaging parts of her native Lebanon, the photographer Rania Matar does not aim to make sweeping political statements about the Middle East; with her complimentary bodies of work titled Ordinary Lives and What Remains (now on display at Houston’s Bank of America Center), she hopes to capture the resilience of the human spirit. Fighting the photographic and documentary urge to re-victimize survivors of war, she offers a more nuanced picture of the lives of Lebanese women and children.
Much of Matar’s work explores global representations of femininity—in a recent monograph, she published images of adolescent girls inhabiting a space between freedom and familial responsibility, the childhood bedroom— and in Ordinary Lives, the artist’s powerful sensitivities color the otherwise bleak black and white war-torn landscape. In “Broken Mirror,” a young woman meticulously adjusts her veil before a shattered mirror, her perception of self seen as fractured by her environment but preserved within her emotional core. Similarly, “Dead Mother” captures the veiling process as a ritual connecting female youth to a monolithic photograph of the matriarch, an undercurrent of modern political and social debate serving as a relentless backdrop.
What Remains operates as an arguably less subjective series of architectural photographs, documenting the aftermath of 2006’s war between Israel and Hezbollah. The series separates itself from Ordinary Lives in its deliberate use of color; the bright blues and yellows read like surrogates for the displaced families that once inhabited the violated spaces, offering a powerful tonal continuation of the striking and complexly seen human spirit captured in Ordinary Lives. Where we once viewed children, embracing the walls in rich gray tones, we are offered a Winnie the Pooh wall hanging, daydreaming beside an empty closet. Take a look.