UK graphic designer Joe Porter has a refreshing style. A combination of minimal color and collage inspired design makes his work eye catching. This young new designer is a recent graduate from Brighton University. He has already been featured in several publications i.e. Computer Arts and Wallpaper Magazine. Not too bad for this up incoming designer.
Alejandro Bombín’s paintings are deceptive. At first glance, many of them appear to be old, faded images from vintage publications that were scanned into the computer. Something went awry and now they look glitchy. But, what they actually are is meticulously detailed acrylic works that produce a digital mistake by hand.
By dividing up the image into rows (take a look at the detail above), Bombín is able to draw the the picture and fracture it by shifting the picture right or left from its original center. He uses a pointillist technique and pairs pure colors together, which from far away forms a cohesive image. And, at the same time, these colors and the texture from it are reminiscent of a lo-res, pixelated image.
The distorted images point to our desire to hold onto the past and the failings that we experience with technology. Digitizing something ensures that we’ll have it forever. Photographs and newspaper clippings? Not so much. But what happens when technology fails us too? Bombín’s paintings remind us that both can be fickle and that there are no guarantees.
French artist Celine Artigau is never really alone. In her series of manipulated photographs, “Goodbye Childhood”, she inserts spectral neon figures into photos of places with personal resonance. She says:
“These luminous characters are the souls of these places and ghosts of my childhood. They are like some lonely and abandoned imaginary friends that still follow me and haunt my life.”
Sometimes sweet, sometimes sad, the figures are simple outlines rendered with a neon glow. Their simplicity is what makes them work. Photoshopping “ghosts” into images—copying and pasting figures from one photo to another and lowering the opacity—has been done and done. With Artigau’s lost souls, the artifice is intentional; these wandering ghosts are meant to look illustrative and not realistic.
“Concerning the process, I use Illustrator to create my character and then Photoshop to integrate it into my picture. For my light effects, I use a mixture of layers and blur effects but the precise process is always different from one project to the next.” (Source)
In this series, Artigau has resurrected her childhood imaginary friends, allowing them to live in the in-between places and shine their light.
For the artist Eliza Bennett, her flesh is her medium; in embroidering her palm with thick threads, she hopes to explore the ways in which we view gender roles. Her hand, swollen and bruised by her own careful work, is titled “A Woman’s Work Is Never Done,” and her gruesomely precise handiwork serves to remind the viewer of the strife of women laborers, many of whom are paid far less than their male counterparts.
Embroidery, like most traditionally female crafts, is often belittled and considered frivolous, but Bennett’s representation of women’s work is urgently and painfully profound. By literally—and unflinchingly— penetrating her own epidermis, the artist subtly subverts the notion that the efforts of women are superficial or shallow.
Building upon these themes of gender constructs, Bennett’s project blurs the lines between the private realm, coded female, and the public realm, coded male. In many ways, her skin serves as the bridge between the internal self and the external world; in embroidering it, she makes a public spectacle of her own personal narrative. As if reading her own palm, she traces its lines in various soft colors, creating intricate patterns and granting certain patches of flesh both psychological and aesthetic importance.
Bennett’s pointed social critique of ideas of femininity is made stronger by the intimate nature of the work. Feminist scholar Betty Friedan once explained that in the battle for gender equality, the personal lives of women must be made political, that internal struggles must be made visible. “A Woman’s Work Is Never Done” is a poignantly simple execution of this idea; here, Bennett weaves a painful visual story onto her hand, stretching it outwards for public consideration. (via Hi Fructose, Design Boom, and anti-utopias)
A site specific installation made out of hundreds of hand cut hexagonal sky photography pieces laying on the sand-covered floor of a gallery. Michaela Lattanzio is presenting her new artwork ‘SandCloud’ and previous other key pieces from her Fragmenta collection at Bi-Box Art Space in Italy. The artist’s Fragmenta mosaics of human portraits where already pushing the limits of traditional photography, an intricate work described previously on Beautiful/Decay.
By fragmenting the images of a sky, Micaela Lattanzo invents a new metaphorical language. The perception of the elements, as we know it, is deflected to another kind of appreciation. As we observe and identify the small pieces, we slowly move away from judgment and can explore the full meaning of this representation. That is the purpose of the artist’s work; influence the brain to follow an emotional contemplation. To symbolize the fragility of such a process, Micaela Lattanzo uses paper, a mean that can easily be reduced to dust and evaporate in the sky.
The intangible sky opposed to the solid sand creates a dichotomy materializing on one hand the body and on the other hand emotional thoughts. Our eyes go back and forth both elements the same way our need to create a connection does with art or human relationships.
Micaela Lattanzo’s retrospective will take place starting September 4th 2015 until October 4th 2015 at Bi-Box Art Space in Biella, Italy.
Scottist sculptor David Mach has a penchant for unexpected materials: magazines, matchsticks, and scrabble pieces, to name a few. In his series “Coathangers,” the artist constructs lifelike animals from wire hangers, allowing the pointed metal hooks to extend past the boundaries of the figure. To build these strange cacti-like creatures, Mach works from a plastic mold, applies the hangers, and coats the finished product in nickel.
Mach’s wild beasts, depicted with near realism, look magnificently aggressive when protruding hooked metal. Like defensive porcupines, the seem to be coated in a layer of quills, warding off the touch of curious viewers. The tiger, the stag, and the gorilla each occupies a distinct role in the hierarchy of the natural world; their predator limbs frozen outstretched or fearful mouths held open, they cannot help but resemble the taxidermied animals that roam the halls of natural history museums. Unlike those passive creatures, however, Mach’s animal kingdom is electrified with the addition shining, threatening spokes, eliciting trepidation as much as they do curiosity. Similarly, the artist’s crucifixion presents Jesus Christ as an explosive, angry being, emitting in his pain an agonized cry; here, we might imagine the biblical lines, “My God, why hast though forsaken me?”
Mach’s coat hanger method allows for the rules of sculpture to be broken; his figures are defined not by their enclosed form but also by material that emanates from their bodies as we understand them. Like characters on a static-filled television, they appear as illusions or mirages. Their blurry boundaries allow them to exist in a mysterious space beyond the corporeal. Are these creatures inhabiting the space before us, or are they merely projections, subject to vanishing at any moment? (via Visual News)
On May 1st three american art students decided to jump the barriers surrounding Ai Weiwei’sSunflower Seedspiece at the Tate modern’s Turbine hall. This action was in protest against the barrier, against the original intentions of the work being inhibited by health and safety (originally museum visitors were to walk on the seeds), to support the release of Ai Weiwei by the Chinese government, and promote freedom of speech and art. The biggest surprise in the video comes when dozens of other museum members joined the three students in a spontaneous group protest. Now that’s power to the people! Watch the full video after the jump!