Anne Lemanski‘s sculptures of various animals done in unique textile surrounding a copper armature are rich in symbolism. An eagle is composed of stitched-together dollar bill designs, while a pigeon is put together with pieces of a service worker’s uniform. A water bird is made of slick, oily latex. The sculptures are great, and the social, political, and environmental commentary are a bonus. Lemanski’s work, which “highlight[s] our admiration for animals as symbols, and our exploitation of them to suit our needs…” touches on a nice dichotomous conflict that adds some strong intellectual power to each piece. Coyotes, snakes, primates, and more after the jump. (via)
Perhaps one of the more curious photo projects to surface recently is the glow worm pictures from Joe Michael. He photographed the insect in its natural environment on million year old limestone caves in New Zealand. The bioluminescent effect on the viewer is mystical and shows the perfect combination of scientific documentation and aesthetic beauty. Very Lord Of the Rings or Elfish, the glow worms allow you to see the caves in a different way. Because of their unique structure the insects project a nature consciously created by a higher design and you begin wondering for what purpose? In the meantime we can enjoy the spectacle they have become. Their green light projects an unusual glow reminiscent of constellations and lighthouses seen off into the distance on a foggy night. It also hints at infrared paranormal activity.
The worms vary in size attesting to the irregular light structure captured in the caves which provides further awe to their curiosity. In some Larvae species the adult female will glow to attract males during mating season. In others the light is used as a warning signal to predators or to lure prey.
Dubai and the United Arab Emirates has seen a recent influx of street art and artists. However, those working beyond preordained areas, outside the law and within a true graffati tradition, still surprisingly few. One of the only such street artists is known Arcadia Blank. Though rare and often illegal, the artist’s work has garnered the support of many locals by forgoing trite tagging for short thought provoking maxims. The short text pieces touch on religion, politics, globalization, media, and a range of other matters with an intriguing mix of sarcasm and sincerity. Further, Arcadia often utilizes temporary structures, which not only minimize private property damage but also is especially appropriate to the artwork’s style.
Marion Balac lives and works in France. She creates large graphite works that are jam packed with detail. Her drawings often feature extremely dense foliage juxtaposed with large white voids. The visual combination of painstaking detail coupled with empty space helps to accentuate her lush compositions. Are the mysterious ghostly forms ominous forces? Or respite from an ever swelling forest? The viewer is pulled into a stark landscape where anxiety reigns.
Matthew Lock lives and works in New Jersey. His drawings and paintings are steeped in science fiction and almost always feature a post-apocalyptic landscape. The subjects that litter his work are both futuristic and decrepit. Death, decay, and disorder are prevalent in Lock’s grim wastelands that are rendered in a rough yet cultivated style championed by Raymond Pettibon. Lock takes inspiration from dark medieval imagery and filters it through his brand of futuristic grunge.
Based in New York, figurative artist Dillon Utter has a penchant for portraits. With a strong focus on urban decay and everyday encounters with others, Utter presents intimate portrayals of people we would otherwise look right past, such as tenants, workers, drifters, and the elderly.
Particularly influenced by his small hometown in upstate New York, Dillon uses real-life experiences as inspiration for his genuine—and often gritty—portrayals:
Binghamton’s rich history and urban decay create an ideal backdrop for my portraits. The city once flourished with industrialization and major manufacturers. Many of these industries are now in ruins and have left economic hardships for the area. I use my street photography as reference for my paintings. This allows me to capture people at a more intimate level, revealing more about them and myself.
While some of his portraits possess titles that reference the scene itself, such as The Corner, Dog Days, or Cold Afternoon on Court Street, others—like Lonely Child and Wounded—poignantly describe the individuals portrayed and focus entirely on their plight.
Unidealized and true-to-life, Dillon Utter’s portraits are unquestionably compelling and exceptionally intimate.
Norwegian-born, Seattle-based artist Sail Uselessarm has a somewhat comic-like and dark style of illustration. Most of his work is labeled as mixed media, with use of gouache and acrylic, amongst other mediums. What really stands out in his work is the stark contrast between the background and the subject, the intense and heavy shadowing within the scene, and how this tight control of light creates an ambiance of film noir that feels very photographic and, in the same breath, filmic. His tendency to off-center the compositions reveals an implied motion that is also quite cinematic.
Concerning his work, Sail related the importance of the narrative:
“I try to tell a story with each piece or at least hint at a larger narrative. Suggest a history, a movement, even if you’re only seeing a moment… I think the weight of that history should exist in that moment. We’re defined by our experiences. I don’t think art is any different. Pulling from folklore and mythology as I do a lot of these characters come with a story, so it’s hard to not have some of that come through in trying to represent them.”
Sail will have a new body of work up in his next show, titled “Canna Intrat,” opening in Seattle at the Roq La Rue Gallery on October 2nd and showing through November 1st.(Excerpt from Source)