Ryan Samuel Carr is a native artist/illustrator of Ventura, California. Ryan’s beautiful line work and dreamy figurative elements remain a constant reoccurring theme throughout his extensive body of work. When I look at Ryan’s work, even if the subject matter is just the roots in a pile of weeds he always seems to capture a rare and very sincere moment only hinting at whatever secrets the particular root, or bed of flowers have to say. Ryan’s unique line work evokes so much feeling and emotional manifestations. Ryan shares a bit of his mark making process in this direct quote from the talented young artist himself:
“I think a lot about the ‘immediacy’ of drawing (with ink and pencils), and the individual mark in a moment of time; what that all says…it’s very mystical and meditative for me.”
Hyperrealist Kit King has created an extraordinary body of work filled with realistic rendering of intense portraiture. This Ontario based artist possesses an unbelievable skill in painting, which she used to create her larger than life images of emotionally charged faces. She does not merely recreate a person’s face in her paintings, but adds a focus on the moment behind the still image on what the person expresses. Many of her subjects look tormented, as their eyes appear weary, stunned, or bloodshot. The lighting King uses in her work adds a force of drama, drawing you into the transfixed gaze of the subject. She aims to spark your attention and capture a transient moment in time where one might feel the sting of these emotions.
The texture is as palpable as the complexity that is often found in the eyes of her subjects. We can almost feel the tangibly wet eyes in Kit King’s paintings as well as the smoothness of the skin. Even the make up in her paintings seem to be flaking right off the canvas. Her husband Oda King also being a talented artist, she often collaborates with him on several of her paintings. Kit King explains the intentions behind her concentrated skill and focus.
“Through a focus on hyperrealism, my paintings are reflections of the ephemeral visual relationships around us. Capturing fleeting moments that affect our emotional state from a singular glance, under the aegis of a heightened sense of reality.”
These sculptures are made from the bones of dead people. The photographic portraits of these sculptures are made by Arne Svenson. What results is Unspeaking Likeness, a strangely captivating series of death portraits, collected here.
For four years, Svenson sojourned from coroner’s offices to law enforcement agencies allover the country, snapping photographs of facial reconstruction sculptures which were built by forensic artists and molded from unidentifiable victims’ skeletal remains, with the intention of resolving crimes.
The narrative hidden behind each “face” is a mystery, and, as viewers, our own hearts tense with sadness when considering each subject’s lurid last moments of life. It’s almost too much; so, we reject the idea of reconstruction in relation to rejuvenation. It feels psychological, how we need to detach. The “face” in the context of Svenson’s portraits are not representative of an emotional life nor physical body; instead, it’s a mask or doll with a troubling echo, seemingly touched by the hands of Frankenstein.
Christopher Bauder‘s Polygon Playgound is a digital heaven .The piece serves as a large scale interactive lounge object, as it offers room for up to 40 people at a time to sit or walk and explore the multifaceted surfaces. Bauder’s interactive piece incorporates 3D surface projections and a sensory system that detects people’s positions and proximity.
The visual appearance of the digital landscape is in constant flux, as the animations on the surface are continuously changing with the constant physical movement and presence of its visitors. For instance, running across the top of the structure may cause the animations to highlight the participant’s footsteps.The animations are ever changing; some of the motifs that are projected on the piece include: grids, orbs or color that can be ‘kicked’ around, and various abstract color forms. (via Art and Electronic Media)
Amy Mahnick takes garbage, things like empty plastic containers and packing tape, and makes paintings. The paintings are very realistic, which isn’t something that I normally get excited about, but this case is special, because the realistic technique serves the purpose of making us say “Hey, that garbage is beautiful.” It makes us think about living better. Maybe our stuff could be put to good use, maybe we could be more graceful, maybe our garbage could serve a higher purpose like Amy’s.
Photographer Todd Davis doesn’t just take snapshots of gas and fluids, he creates beautiful, ever-interesting abstract images that are impressive and captivating. In his Viscosity Series, he presents different forms of smoke in hundreds of variations – as a colored lump, twisting and turning in on itself, or as a light and airy wisp, silently falling down and fading into the background. Reminiscent of lava lamps, or science experiments when you test different chemicals out against one another, Davis’ work is a gorgeous juxtaposition between weightlessness and form. The smoke exists on the boundary of disappearing or falling apart. Here’s an excerpt from his representative gallery:
The Viscosity Series is a photographic study of the fleeting, random shapes created when two or more dissimilar fluids are introduced. The series is called Viscosity because fluids of different densities permit a moment of suspension before they disseminate in the other giving one the appearance of being more viscous. (Source)
In true abstract fashion, his photos take on many different ideas and images. They can look like paint thrown at a wall and left to coagulate into gooey lumps, or some strange marshmallow cake that’s spilled over the edges of it’s dish, or like a blob of inks and dyes dumped into a glass of water.
Davis not only is able to flatter inanimate subjects (including beverages and tabletop set ups), he also takes beautiful portraiture photography, showing off his skill with intricate lighting configurations.
Jim Gaylord will be exhibiting new work at Gregory Lind gallery, opening Sat. Feb 5th and running til March 14th. Building on his past work as a filmmaker, Gaylord’s work cultivates and abstracts imagery from special effects and action sequences in the movies. With titles like “Study (Braveheart + Jackass: the Movie + Cloverfield + Last of the Mohicans + Home Alone 2), 2009,” Gaylord reveals the humor behind popular culture through the lens of movies.