In a dark series of sculptures titled Broken Dreams, Brooklyn-based artist Sandra Osip captures the decline and decay of suburban Detroit. The works are inspired by Osip’s memories of the city: the streets she roamed as a child, the corner stores she visited, and the neighbourhood—now destroyed—that surrounded her former high school. She sculpts the skeletal husks of houses that are burnt down, collapsed, and decaying, evacuated of all life and purpose. In more abstract renderings, Osip has created “junk heaps” of urban ruin, crushed-up buildings that represent entire neighbourhoods left to the cruel forces of time and neglect. In the following statement, Osip explains the deeply personal inspiration for the series:
“Recently I visited my childhood neighborhood in Detroit, Michigan, and to my disbelief my house was no longer standing; neither was the corner store where I bought my penny candy, nor my friend’s house down the street, nor the empty lot I used to ice skate on. This is now an empty wasteland and overgrown by nature. The day after my visit the news reported that a block away from where I lived they found two decomposing bodies. The news stated at least a dozen bodies in twelve months have been found in this abandoned and neglected part of the city.” (Source)
Nostalgia is a painful concept in these sculptures; instead of comforting childhood origins, Osip is left with rootless memories, and a sense of “home” that’s deteriorating and forever changed—haunted, even, by literal images of death in the form of human bodies. “Many of my fond memories have now vanished,” she goes on to write, explaining the pain of having part of one’s personal history obliterated. She approaches the series with a profound awareness tinged with irony; one work, titled “Beautiful Homes and Gardens,” incongruously depicts a stack of cadaver-like houses. However, by consciously reworking her attachments to the now-ruined streets of her youth, Osip’s work demonstrates a courageous exercise of healing through the release of the past.
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Korean artist Choi Xooang creates sculptures that you’d see in your nightmares. The grotesque artworks are made out of resin and shocking in the brutal ways that they manipulate the human body. Severed limbs, skin corsets, and people-made backpacks are all featured in these pale, hyperreal mutant characters. Although they feature exquisite craftsmanship (the life-like details are stunning), it’s hard to get away from subject matter.
His existentialist creatures, in the torments of their flesh and their contradictions, become our double dumb and clueless. The artist says that emotions are the only things given to a man or woman apart from their social status in the functioning of a capitalist society. Choi Xooang not only gives us his own feelings but attempts to retrieve a collective soul, a chart of all the sufferings and joys experienced by everyone.
We see these types of feelings represented; while there is pain, there is also sensuality between the characters, and even some eroticism shown throughout the strange hybrid people. With this, Choi communicates that pain and pleasure can walk a thin line. (Via Hi Fructose)
Classic typography with a twist, slick illustrations, and just the right amount of humor go into all the works in the portfolio of Parisian designer and illustrator Mike Stefanini A.K.A Atomike Studio.
Belgian artist Nick Ervinck‘s work is a divergent collection of the physical and the digital: by employing computer design techniques with a singular vision to make sculptural works new and exciting, Ervinck turned to 3D printed sculptures for his gallery works and comes out the other side creating works of singular focus, applicability and immediacy.
Says Ervinck on his website’s artist statement, “I have always been fascinated by how art has developed due to the use of new materials and techniques. Somewhat disappointed in contemporary sculpture and it’s lack of renewal, I turned towards architecture, applied sciences and new media, in order to elaborate a new language generated by computer software, and to compose forms and designs that were unthinkable in all those years before.”
While many of his works contain a quality that derives from ““Using copy paste techniques in a 3D software environment, I derive images, shapes and textures from different sources: basilicas, corals, dinosaurs, cottages, Rorschach inkblots, Chinese rocks and trees, manga, twelfth-century floral wallpaper, anatomical parts…”, perhaps most interesting in Ervinck’s work is his particular interest in the future possibilities and practical uses of the 3-Dimensional printing medium. In works such as the AGRIEBORZ series (pictured above), Ervinck worked closely with medical scientists to create realistic reproductions of the details of the human body in the fledgling bio-printing industry. He has openly remarked that he hopes that his artistic concerns and sculptures will eventually fuel scientific inspiration to continue research into the realms of human potential. (via MELT)
Missouri native Kelly Louise Judd‘s illustrations are lovely, sure, but they’re also just a little bit creepy. They are the sketched equivalent of having all the lights cut out as you read aloud an old ghost story or dark fairy tale from your childhood. You may be all grown up now, but, still, something in the back of your mind suggests that you don’t turn around… The artist interjects a bit of humor just when it’s needed, though. The Big Bad Wolf snickers, carrying Little Red Riding Hood in his fat, furry belly as he strolls away from grandmother’s house. A fox sneaks a peek at his very own foxglove shoes, and a pair of Victorian ladies step out for a smoke, filling the sky with phlegmy constellations. The influences of Victorian illustration, Renaissance art, fairy tales, and abnormal psychology are evident in all her pieces, as you can see here. Check them out below.