Sean Yoro (aka, Hula) is a globetrotting artist known for his tranquil murals that merge human figures with urban and natural environments. In a new project called A’o ‘Ana (The Warning), Hula traveled north, to an area with icebergs that had broken off a glacier nearby (for legal reasons, the exact location must remain undisclosed). There, using the icebergs as a canvas and the sea as a frame, he painted serene portraits. In the following statement, Hula describes his experience:
“In the short time I was there, I witnessed the extreme melting rate first hand as the sound of ice cracking was a constant background noise while painting. Within a few weeks these murals will be forever gone.” (Source)
Hula’s project is one of ephemerality, both beautiful and disturbing; the paintings, much like the state of the “frozen” north, will one day vanish into the rising sea. As he describes in a statement to The Creators Project, he doesn’t simply wish to forewarn of impending disaster, but rather shed light and urgency on the fact that people are already being affected by climate change (Source).
The internet is currently swarming with stories, tributes, and memorials to the late, great Robin Williams who passed 3 days ago. Some people may not know that in addition to being an actor, comedian, activist, and improv performer, Williams was also an unabashed lover of video games, comic books, and graphic novels, and that this loss resonates throughout these communities as well. Yesterday, Nick Gazin over at Vice posted crowd-sourced illustrations that pay tribute to the performer, his characters, and his life. (via vice)
Specializing in digital media, artist and professor Joseph DeLappe boasts a diverse background. While his portfolio features seemingly traditional experience in painting, drawing, sculpture, installation, and curatorial work, it also presents more inventive undertakings, titled “interventions/actions.” Spanning social media experiments and fake newspaper articles, this distinctive body of work is entirely political, with the most recent project, In Drones We Trust, featuring paper money as its platform.
Described as a “crowd sourced, participatory rubber stamp currency intervention,” InDrones We Trust calls for volunteers all across America to brand their bills with a tiny stamp depicting an MQ1 Predator Drone. DeLappe explains:
The idea came after closely examining U.S. currency – all but the $1 dollar bill feature a pastoral depiction of a notable government building or monument on the back of the bills, albeit with lonely, empty skies. It seems appropriate, considering our current use of drones in foreign skies, to symbolically bring them home to fly over our most notable patriotic structures.
Subtle enough to blend in with their printed surroundings but graphic enough to stand out, the colorful marks stamped on the notes succeed as both an aesthetic addition and as a political statement. By adorning paper currency with these controversial and heavily symbolic imprints, DeLappe is able to both stealthily spread his message and get his art into circulation—literally. (Via Vandalog)
To join the cause and put your money where your mouth is, get your own drone stamp here!
The team behind Atelier Ted Noten blend design and art so well, it can be difficult to unravel. They explore issues usually relegated to art such as violence, beauty, private and public life through design. Ice picks and cocaine are sunk into acrylic and transformed into designer bags. Perfume sprays down the barrel of a gun, its silencer concealing nail polish. The atelier’s design seems to at once celebrate and chastise high fashion’s excesses. Its bold design sensibility and irresistible ambiguity make their pieces difficult to turn aside from.
“Lilith v akcii / Lilith in Action” (2009). Soft sculpture, textile.
Vlasta Žáková is a Slovakian artist who uses fabric to create pictures and soft sculptures that quite literally “explode at the seams” with human emotion, experience, and desire. Her technique involves hand and machine sewing, and various materials are layered and embroidered into her works until they take on a painterly, three-dimensional effect. In addition to her textile “paintings,” Žáková also creates life-size human figures, which are realistic, surreal, humorous, and saddening all at once. Her sculptures include a woman crying alone in the corner, with red threads to indicate her tear-stained face; a man straddled by a nearly naked woman in a hallway, while a dog looks bizarrely on; and a headless body slumped against a wall, its knees split open and arms frayed off.
In both her pictures and sculptures, Žáková’s main inspiring influence is the party scene, and the types of intimacy and shattered states these events often result in — hence why her work consistently depicts despair, eroticism, and/or debauchery. In one particularly striking sculpture, Žáková took the image of a crowd of people, fused it together, and created a horrifyingly exuberant and multi-limbed creature. This work was presented at the Red Gallery (London) in a performance titled Ultraviolet Movement (2013). Combined with physical animation and UV lights, the soft sculpture embodies the darkness, hedonism, and semi-lucidity of a late-night party. The video Nocturne (embedded above), which Žáková made in collaboration with Jakub Gulyás (video) and Martina Vyskupová (performer) as part of an exhibition project in the Bunker of the Nitra Gallery, features this grotesque “puppet” as it takes on an eerie life of its own.
What is beautiful and provocative about Žáková’s work is that she has brilliantly infused her textile creations with their own emotional and erotic lives; many of us can probably relate to the states of disrepair and desire she expressively depicts. Visit Žáková’s website to see more of her work. You can read about her time at the Red Gallery here and here.
In the spirit of All Hallows Eve, we thought it would be cool to share some of our favorite Halloween memorabilia for all of you B/D ghouls and ghosts. This includes vintage horror movie posters and pumpkin carvings; many of which were created by sculptor extraordinaire Ray Villafane. Enjoy! We did!
From Goldfinches to Rooks, artist Zack Mclaughlin creates sculptures of birds made from wood and paper, along with other mixed media. He pulls inspiration from the natural world when constructing his incredibly realistic feathered friends. Feeling a connection with each one of his birds, this labor-intensive task takes patience and skill, as the artist uses paper, a very delicate material, to create such amazing detail. Using wood for the base or body of the birds, paper lends itself to the light, airy nature of feathers. Paper is even thin enough to let light through, much like real feathers. Each feathery texture is hand cut to perfection by Mclaughlin, down to the tiniest feather, which you can see balancing on the tip of a finger.
Mclaughlin began his bird making journey when he was in the process of creating a children’s book in which the story starred a boy and a bird. Although he is also an illustrator, he sculpted the bird character in the story to better visualize his concept. He enjoyed this process and working with the materials so much, that he went on to make a huge variety of these detailed, complex feathered beings. Mclaughlin’s malleable medium choices allow him to get creative in his process. He can use different kinds of paper while creating the birds, which is why one of his birds has wings made from book pages, displaying words on each feather. His birds range in color, size, and type, which include a large, white owl all the way down to a tiny hummingbird. Mclaughlin also constructs these bird beauties into lighting and even mobiles. You can find his majestic birds on his Esty page. (via Bored Panda)