Premiere website builder Made With Color and Beautiful/Decay have teamed up yet again to bring you exclusive artist features. Each week we bring you some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek websites. Website builder Made With Color doesn’t just help artists create minimal and mobile/tablet responsive websites but allows them to do so in a few minutes without having to touch a line of code.This week we are happy to share the work hilarious and offbeat illustrations of Kyle Stewart.
Canadian illustrator Kyle stewart is currently working on his Illustration degree at Ontario College of Art and Design University (OCAD). When Stewart isn’t busy hitting the books at OCAD he is churning out his pop culture laced mixed media illustrations, in watercolor, collage, and number two pencil. Influenced by everything from 80’s and 90’s sitcoms (Alf!) and action movies (Robocop!) to his early years of skateboarding, Stewart’s strong sense of line and bold color comes through in all his works making us laugh with him at his subtle alterations to the pop icons that we all know and love.
The Metamorphosis Series by artist Shi Shaoping is a poetic look at life. Shi created 3,000 ceramic eggs over the course of a year. Each egg weighs about 22 pounds and as a group come in at about 48 tons. The eggs were then taken to some of China’s loneliest locales. From grassland to beach, deserts, and mountains, the ceramic eggs were spread out on the ground. The entire project was documented with photographs and videos.
In a way The Metamorphosis Series is as much a site specific installation as it is a performance. Shi set before himself an intentionally difficult project, one that would entail hard work, a journey, and perhaps transformation. Like the egg, these too are a symbol of life. However, they clearly also point toward potentiality – the field of eggs seems poised to hatch. The exhibition statement goes on to relate about the project:
“Shaoping is like a fortuneteller who uses the 3,000 giant eggs to remind people of the weight of life. The beauty of the work is the unpredictability, and the unlimited imagination it brings. The fragile yet vigorous eggs of life emphasizes that we eventually have to respect every single living thing in the universe. The sands may cover the frost-glazed castle; the soaring fallen leaves may blanket the ground. The persistence and power of life, however, will fight against the mediocrity and itself. The contradiction is the language Shaoping’s looking for to express his world of Metamorphosis. This triggers the speculation and discussion on contemporary art and life value.”
Join us in celebration of the highly anticipated release for Book 1: Supernaturalism, Saturday July 25th, 2009 at Gallery Nucleus. Don’t miss artist Kyle Thomas, who will be signing and taking requests for custom, one of a kind covers for each attendee. Works by Kyle as well as featured artists Ben Tegel, David Jien and Seth Curcio will also be on display until August 3rd. Artists from the book as well as the entire Beautiful/Decay team will also be in attendance.This is a rare opportunity to get a hold of a completely customized, original copy of the limited edition Book 1! Details after the jump.
Sølve Sundsbø is a London-based (Norway-born) photographer whose highly stylized shoots bring an experimental edge into the world of high fashion. This particular series — called Points a la Ligne — was shot for Numéro magazine’s May 2008 issue. The concept is simple, yet powerful; patterned shadows of stripes and circles are cast across the body of a nude model (Edita Vilkeviciute). Between the model’s painted-white skin and the pitch-black shadows surrounding and traversing her, the photos are strongly contrasted. Her lipstick — in varying bright shades — is the only source of color that punctuates the series, attracting the eye to her mouth.
The result of Sundsbø’s experiments with light and shadow is a photo series that lends a sensual geometry to the body. In some images, the shadows — which appear painted on, initially — give her body a feline appearance, and in others, almost a pop-art/film noir aspect, or even more abstractly, the way sunlight reflects off of sand dunes. The interpretations are varied, but the illusory effect on her form is beautiful.
Sundsbø has shot for a number of fashion publications and beauty brands, including Vogue, NYTimes, Chanel, Dolce & Gabbana, and H&M. You can explore the rest of his imaginative, sensual, and highly polished work on his website. (Via Art Fucks Me)
In June 2012, a man named Andrew Shannon walked calmly into the National Gallery of Ireland in Dublin, and after approaching Monet’s Argenteuil Basin with a Single Sailboat (1874), he put his fist through it. To Shannon, the act of vandalism was a way to “get back at the state” — by punching a famous, 141-year-old painting, appraised (before the damage) at $10 million (Source). In court, he claimed he had fainted and fallen onto painting; video surveillance later revealed the act was deliberate. Recently, in December 2014, Shannon was sentenced to 5 years.
Since that day in 2012, conservators at the National Gallery have been hard at work trying to restore the painting to its former, beautiful, impressionist state — as Monet intended it. The damage was severe; the painting was split open in the middle, the torn pieces twisting outwards. The first step was to collect the tiny fragments that were on the painting’s surface and the ground nearby. Fragments that were found were then collected and classified under a microscope, as the conservators tried to figure out where they fitted into the painting. 7% of the fragments, however, were too small to be identified; these were sent to a lab and tested with a chemical staining dye, to figure out what types of materials Monet used.
The actual repair process was a long and delicate one. First, the painting was placed onto a padded cushion, and the front was covered with a conservation-grade tissue that was adhered to the surface of the painting using water-based, animal glue to stabilize it while it was being fixed. The actual “surgery” proceeded like this:
“With the aid of a high-powered microscope and appropriately small tools, the tear edges were carefully aligned thread-by-thread. Re-joining of the realigned, broken canvas fibres involved applying a specially formulated adhesive to achieve a strong but reversible bond between the thread ends. This adhesive material has been used and developed by painting conservators in Germany over the past 40 years.
Examples shown here include small steel surgical tools for working on tiny areas using a microscope; mini hot spatula for applying controlled and localised heat to the painting; warming plate and glass containers for keeping adhesive at a consistent temperature. Hydrated collagen adhesive was made in-studio.” (Source)
After delicately suturing the canvas back together, the conservators then went through and pieced the fragments back in. Gesso and watercolor were used to retouch the areas where there were still missing fragments. To make sure the painting is preserved for the future, the conservators built a climate box “to reduce exposure of the painting to environmental fluctuations” (Source). The box includes a humidity buffer as another preventative measure.
It was a long and delicate process, but despite the extent of the trauma, the repair was a success. Check out the National Gallery’s website for a longer description of the restoration project. More pictures of the process after the jump. (Via Gizmodo).
Damien Hirst is often known for his menagerie of carefully curated animals. You may have seen his cow, somewhat deconstructed, or his 14-foot tiger shark preserved in a tank of formaldehyde. In his new exhibit, “Schizophrenogenesis,” Hirst turns to a different kind of preservative: the kind that humans use to maintain a delicate mental balance or for the good of our health — or so we have been told.
“Schizophrenogenesis” is a tongue-in-cheek homage (or opposite thereof) to the sleek contemporary design of pharmacology. These IKEA-worthy pills are shown in neon prints or as sculptures, much larger than life. “Pills are a brilliant little form, better than any minimalist art,” Hirst says. “They’re all designed to make you buy them… they come out of flowers, plants, things from the ground, and they make you feel good, you know, to just have a pill, to feel beauty.”
Though out of the ground indeed did they come, the modern-day herbs and remedies Hirst depicts are anything but natural. Viewers are asked to contemplate their artificial curves and edges and the distant bold-faced type of a prescription (“Take SIX capsules FOUR TIMES DAILY,” one says urgently). One bubblegum pink capsule declares, “PFIZER.”
Chris Labrooy (previously featured here) is United Kingdom based artist and graphic designer who thrives in small projects which take a small idea and run with it. His most recent project, Auto Aerobics began as an exercise in place and context. Inspired by a winter trip to Brooklyn, La Brooy began to manipulate a Pontiac car which originally only served as a background object, but became the focus of the entire series.
By taking the familiar shapes and forms of the American Auto’s chassis, La Brooy digitally manipulates them by bending, stretching and combining, and seemlessly building them into the landscapes which they were inspired by. The bizarre, impossible, and totally impracticle images result in strikingly memorable floating sculptures that feel both alien and familiar. (via ignant)