Los Angeles based artist Laurie Lipton draws fantastical worlds built of dystopian technology and waste. Her recent work, which she refers to as Techno Rococo, explores “society’s relationship to technology and how it’s uniting us while simultaneously disconnecting everyone from each other.” Her epic, painstakingly detailed drawings are giant, allowing the viewer to fully enter them — Lipton’s work is not just a vision, its an experience. Lipton explains her unique style; “it was all abstract and conceptual art when I attended university. My teachers told me that figurative art went ‘out’ in the Middle Ages and that I should express myself using form and shapes, but plashes on canvas and rocks on the floor bored me. I knew what I wanted: I wanted to create something no one has ever seen before, something that was brewing in the back on my brain.” Originally inspired by the Flemish School of painting, Lipton developed her drawing style based on traditional egg tempera techniques of creating depth through a meticulous process of cross hatching. Using only charcoal and pencil on paper, her black and white work, despite its futuristic content, aims to hint at a sense of classicism. She states, “I used to sit for hours in the library copying Durer, Memling, Van Eyck, Goya and Rembrandt. The photographer, Diane Arbus, was another of my inspirations. Her use of black and white hit me at the core of my Being. Black and white is the color of accent photographs and told TV shows…it is the color of ghosts, longing, time passing, memory, and madness. Black and white ached. I realized that it was perfect for the imagery in my work.” (via Hi Fructose)
If painting is your thing, there’s a very good pop-up group show up in the Bushwick section of Brooklyn. It’s only up for two days. Hung from floor-to-ceiling, the paintings disperse across the space in the configuration of an explosion. A bunch of artists who’ve been featured on B/D are in it: Tom Sanford, Jeremy Willis, Eddie Martinez, Aaron Johnson, and Eric Yahnker. There’s a huge list of people in the show.
Posters and illustrations by graphic designer Falko Ohlmer.
Meet Issei Sagawa, a 4 foot 9″, Japanese, college educated, and self professed pornographer, cannibal, and necrophiliac. This insane nut killed a young girl, ate her flesh for 48 hours, was caught red handed, fully confessed, and then was set free. Now he’s making money off of his story. Crazy right? Watch this mind blowing documentary and find out how he did it!
Sarah Roesink from across the pond in London, photographs her surroundings. We really enjoy her series, as they seem to be so… not spontaneous, but .. normal. In a good way. Like she takes her camera and her skills with her wherever she goes and photographs with a series in mind that she decides while she’s walking past a field.
Europe-Europe is a series of porcelain figurines created by the collective AES+F – a group made up of the artists Tatiana Arzamasova, Lev Evzovitch, Evgeny Svyatsky, and Vladimir Fridkes. A first quick glance they may seem like typical decorative figurines. However, it soon becomes clear that something is terribly/wonderfully wrong. The collection, exhibited together in a case, seems like an orgy – people caught in various sexual situations.
Yet, something else makes this series especially interesting: the characters are often thought of disliking or even hating each other in real life situations. A Neo-Nazi strokes the locks of a Hasidic Jewish boy, sweat shop workers pet their capitalist supervisor, a police officer fondles a rioter. While these can easily be read as a playful and optimistic depiction of global unity, a sinister feeling lingers on these figurines. It seems as likely that these hateful feelings are depicted as a sexual tension. Political power struggles are illustrated as sexual power struggles.
While sitting under a chair, fifteen toy guns shoot at irregular intervals into the void. The sound is loud, oppressant and the feeling intense. Jonathan Moore has us caught in the real time firing of drone strikes by the US military. The information is then printed in a receipt next to the installation informing of the date, time, location, number of death forecasted and actual number of death.
The “Artificial Killing Machine” interactive installation is built out of a printer, motors, toy cap guns, batteries and a control electronics which accesses every five minutes the public database of the US military drone strikes. The materialized data is allowed to accumulate in perpetuity or until the life cycle of either the database or machine ends. At first, the installation doesn’t appear frightening, its painted in white, symbol of innocence. The sound, however, is what starts to make the experience difficult. It becomes almost unbearable once the purpose of the art piece is understood. (For a better understanding please watch the video below).
Visual artist Jonathan Moore interacts with powerful significant data in order to question war, technology improvement and perception of death. He places statistics and data in a context that gives the opportunity to realize what is actually happening. The means used are playful and familiar, the toy cap guns and the receipts put us in an intimate territory; making the rest of the experience harsh and uncomfortable. (via Supersonicart)
The geometric paintings of Francesco Lo Castro are made from a time-consuming layering process that combines acrylic, spraypaint, occasional silkscreen and layered epoxy resin to create dynamic explorations of shape and form. This process is so intuitive that the artist says, “Geometry is just a word; it’s an aesthetic. There’s no math involved in it.”
The Italian-born, South Florida artist begins his work layering angular, taped-off shapes painted with aerosol and coated with a layer of epoxy resin. This layer is then sanded down, as is every successive layer, until the piece is finished. This process can take up to a month of 12-hour days to complete, according to an interview with New Times. Explaining his work, Lo Castro says “To me, these paintings represent our entire universe. These shapes are atoms. They are galaxies. They are representational of all that combined. They all represent evolving structures that are constantly in flux and ideas that are constantly clashing with each other. And with these clashes, new ideas arise, and we evolve through them. We have billions of people finally waking up and networking with each other; even if we don’t speak the same language, we are getting to know ourselves in the process for the first time. This kind of communication hasn’t happened before.”
Lo Castro expands this point in the interview, explaining that the former lowbrow arts movement star turned to his current geometric style as an evolution – one which mirrors humanities’ own path towards singularity. The artist o notes that his own work has found an international community thanks to technology and internet exposure, and also because of the geometric aesthetic that we can all share. Lo Castro continues, “I think geometry found me, because all you have are these colors and shapes. No matter what your age, your culture, or language you speak, everyone can jump in.” (via coolhunter and broward-palm beach new times)