Legendary producer Pete Rock & Smif N Wessun, acclaimed hip hop artists who have previously gained fame from their Dah Shining & The Rude Awakening albums have joined forces for a MONUMENTAL album. Pete Rock has provided the entire production on the album, as well as vocals including on the title track MONUMENTAL. The album features their colleagues in the foundation of hip hop music including artists like: Raekwon, Sean Price, Buckshot, Freeway, Top Dog of Boot Camp Clik, Bun B, & Jahdan.
In collaboration with the release, New York based photographer Fubz, documented the entire recording process. Fubz has been shooting photographs since 1998 with his work featured by notable clients & magazines and record labels such as: Warner Bros., Rostrum Records, Antenna Magazine and The Source.This collaborative release embodies the MONUMENTAL process of creating this album and process of music within the ever changing and growing hip hop community.
Londoner Tyler Vipond’s work plays mostly with space and depth created out of formerly 2D surfaces. Bridging the space between sculpture and painting, his work leaves you with a feeling of tension and intricacy while still feeling almost effortless. I particularly love his series “A Collapse” whose pieces are almost reminiscent of deconstructed origami.
Meet Canadian artist Alice Gibney. Her work has a hauntingly beautiful presence, layering intimate charcoal lines on large scale paper panels. Her recent series are filled with imagery depicting self vs nature and human manifestation of grief. She’s currently spending some time in Berlin, hopefully gathering up loads of inspiration for her next series of work when she returns to NYC to finish her MFA at Parsons.
Tessa Farmer’s miniscule sculptures reinvigorate a belief in fairies: not the sweet Tinkerbell image in popular conscience, but a biological, entomological, macabre species translating pastoral fable into nightmarish lore. Constructed from bits of organic material, such as roots, leaves, and dead insects, each of Tessa’s figures stand barely 1 cm tall, their painstakingly intricate detail visible only through a magnifying glass.
Hovering with rarefied, jewel-like beauty, Tessa’s tiny spectacles resound with a theurgist exotica: their specimen forms borrow from Victorian occultism to evolve as something alien and futuristic. Playing out apocalyptic narratives of a microscopic underworld, Tessa’s manikin wonders rule with baneful fervour: harnessing mayflies, battling honey bees, attacking spindly spiders. Presented as wee preternatural discoveries, Tessa’s sculptures conjure a superstitious premise, dismantling the mythos of fantasia with evidence of something much more gothic, sinister, and bewitching.”