Jean Marembert (1904 – 1968) was a founder of the group with Louis Cattiaux – a group of Surrealists of a more decorative nature. His work is also, like Giuseppe Arcimboldo’s work, looks like it was made in this century instead of the last. That just goes to show how our current sensibilities are based off the past. Old aesthetics are recurring and cycled through, even filtered down. That’s why I believe it when people say that nothing is ever original anymore.
Neil Mota brings together the beauty of fashion photography and Pirates of The Caribbean costumes and accessories. This certainly is a tough task but Neil has managed to create an accomplished body of work that does it with ease.
Erin M. Riley takes the images that usually live on Snapchat, Tumblr, or the privacy of your own phone and translates them into tapestries. They are pictures you wouldn’t want your parents to see. They feature naked and half naked women, drug paraphernalia, used condoms, and more. In an interview with Arrested Motion, Riley states, “I try to take pictures of the condoms after I have sex, the pictures I send to people, pictures of tables at parties, substances & liquids that change the course of events.”
If broadcasted the world, these are the type of photos that would really embarrass someone. Riley takes time to translate these experiences into large, detailed, and colorful weavings completed on a loom. In the same interview, she goes on to say, “I am taking the time to recreate these images as physical tapestries, because these are the events and objects that are significant to me. Tapestry allows images to be given more time, for hookups to gel, for mistakes to be thought over, its a way to over analyze every detail.” This is a cathartic activity for the artist, who says that there is an ebb and a flow in her images over time. Sometimes, they will be more aggressive or explicit, then scale back. Riley says that it’s a reflection in her own life, and she’s open to sharing this with her viewers. Doing so gives the opportunity to start a dialogue with people who admire, question, and collect her work. She’s happy to have conversation with people who might not broach the subject without the help of her tapestries.
Part of the success of Riley’s work is the way it is produced. She combines two different worlds; weaving, an old art form that requires a lot of skill, and the digital age, one that is very focused on instant gratification and accessible by nearly everyone.
Colorado based artist, Ashley Eliza Williams, creates paintings of geological phenomenons. At first glance, her images appear to be the findings of a microscope, or perhaps, the photographic documentation of some obscure landscape. Her paintings are vibrantly alien, yet convincingly recognizable. Through a “lifelong curiosity about the patterns and biological systems that organize the natural world” she has created a body of work that seems to exist between the realms of science fiction and genuine morphology.
Her choice of titles lift her paintings out of a solely biological and ecological fueled quandary and shift them into a metaphorical, self-reflective, meditative space. The series itself is titled Sentient, directly opening up the work to a channel of emotional conversation, each piece taking the sentiment a little further. For example; The Inner Balance of Things, which features a delicately faded pink rock floating through a soft clouded sky; The Appearance of Quiet Restraint, which focuses on a triumphant looking boulder with small, seemingly measly mountains in the background; or Maybe We Look Like This Inside, which displays a fleshy, internal-organ-esque looking rock hovering over an empty, gray landscape. These titles add a very honest, almost painfully personal aspect to the work, hinting that these pieces act as depictions of an internal space; it is as if she is allowing the viewer into her most personal contemplative thoughts. Through pairing each painting to titles such as these, Ashley Eliza Williams proves her work to be a genuine thoughtful reflection on being human. (Via Booooooom)
A good deal of contemporary art blends characteristics from disparate practices: sculpture and painting, painting and photography, video and installation. However, the work of Alex Schweder is a rare mix. Much of his work is equal parts architecture and performance art. Schweder investigates the way people interact with living spaces, and the way these spaces interact with their occupants. The result is often a playfully surprising structure. Some structures balance or rock depending on the movement of the inhabitants. Other structures are photosensitive, their inhabitants leaving stronger impressions the longer they linger. Regardless of the ‘performance’, his work encourages approaching ideas of the home and its occupants as almost a living relationship.
Rashaad Newsome’s obsessively-handmade collages in customized antique frames comprise a visual vocabulary that combines high neo-Baroque style with low pop-advertising imagery. His richly-detailed compositions form a kind of Rosetta stone for hip-hop culture. Newsome culls familiar images of luxury goods from glossy consumer magazines: sports gear, jewel-encrusted brooches, rings, watches, furs and yachts, which he then uses to create contemporary coats of arms set against meticulously-patterned backgrounds. See Newsome’s work from October 20th-December 3rd 2011 at Marblorough Gallery.