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Jose Manuel Hortelano-Pi

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First seen here last year, Spanish illustrator Jose Manuel Hortelano-Pi has updated his portfolio with a number of intensely colorful portraits created with a Wacom Bamboo. His series of men holding various objects is also pretty great.

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Mindy Kober

Delaware

Delaware

Hailing from Houston, TX (home of the Geto Boys) and holding an MFA from Cornell, artist Mindy Kober paints scenes inspired by the images on the backs of those state commemorative quarters. Inspired is the operative word here – Kober uses a great deal of imagination in her humorous recreations of the scenes, often incorporating imagery from current American pop culture.

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Angela Kelly Collaborates With Her 7 Year Old Son On Beautiful Photos Of Frozen Bubbles

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Photographer Angela Kelly is yet another creative who is harnessing the current cold to create something special. Her newest photoseries came about when she mixed up a homemade bubble solution (a recipe which calls for dish soap, Karo syrup and water) with her 7-year old son Connor, and braved the early morning cold of Arlington, Washington to see what would happen to the bubbles in the frigid air. Of course, Kelly also brought her camera to document her experiment.

The resulting shots, a combination of high-definition close-ups and macroshots, capture the bubbles as they freeze into glass-like, fragile spheres. While some whither and shrink (like naturally-occurring cold balloons), others gently dropped to the ground like small crystal balls, while others cracked into shards. Says Kelly, “Sometimes in our quest to appreciate beauty, we take for granted even the simplest treasures that can be found in our own back yard.”

“Simply put, I want to encourage others to slow down and appreciate the little things,” she added. “I hope that viewers, when seeing this, are reminded that one is never too old to stop and enjoy the incredible beauty that is around them if they only look and to encourage their children to do the same.” (via huffington post)

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Video Game Designer Paul Robertson Creates Mesmerizingly Entertaining GIFS

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Paul Robertson is an Australian animator and digital artist who is known for his pixel art  used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings. Apart from his seasoned career as a game designer and movie creator, Robertson has been recently spotted on Tumblr with these GIFS.

His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990’s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.

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Gel Jamlang’s Surreal Illustrations

Gel Jamlang'

Gel Jamlang

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Baltimore based illustrator and designer Gel Jamlang illustrates surreal watercolor and acrylic pieces that largely feature the human body, sometimes paired with animals or painted with an interesting symmetrical or mirroring effect. Jamlang’s illustrations combine realism with whimsical imagery to create a dynamic and energetic composition. The figures in her illustrations seem to lack boundaries – they merge or spill into other figures.

Of her process, Jamlang explains, “Watercolor behaves so unpredictably… It is very exciting to use. It drives itself. The transparency and the brilliance of the colors all swirling around are thrilling. And when you use it side by side with acrylic, the more opaque, dense and unyielding medium, the contrast can be beautiful.” (via hifructose)

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Photographer Pretty Puke Documents The Raunchy Underside Of LA’s Late-Night Youth Culture

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The work of Miller Rodriguez, a.k.a Pretty Puke, is photographic foray into the raunchy underbelly of LA’s nightlife. An encounter with his work is often an experience of knee-jerk repulsion, followed by a driving curiosity; it is not uncommon to see people urinating in dark alleyways, devouring fast food, vomiting, or expressing themselves in shamelessly hypersexual ways, but you can’t stop looking. And even though his technique may initially seem lo-fi, this is part of his distinct style and brand: to present raw, unedited, unglamorous life by hyperbolically representing the experiences and vices relevant to today’s urban youth — those of Generations Y and Z.

When I spoke with Miller about his work, he was a bit vague. As a voyeur to insanity and subversion, so much of his creative identity is founded on a need to remain aloof; even his photo captions are encrypted with what has been accurately described as “an other-worldly hip-hop vernacular” (Source). He did, however, provide me with some glimmering shards of insight into his political and artistic goals, which add new dimensions and interpretive possibilities to his dark repertoire. His perspective on Generation Y (and Z) is particularly illuminating, in that he views their forms of (mis)behavior as symptomatic of their uniquely digitized upbringings, in addition to the reproachful influence of older generations:

“Gen Y lives on the internet, in an entirely different universe. We communicate and express ourselves online in a completely different sphere that older people aren’t aware of. […] Older generations may look down on Generation Y for being too obsessed with technology/internet, too sexually deviant, too entitled, but they are the ones who made us who we are. […] They raised us, and created the shitty economic situation in which we have come of age, and this is the result.”

In many ways, Pretty Puke can be seen as the “found footage” for Generations Y and Z. And even though it seems to only represent a small section of LA-based youth, his work appeals to people across various subcultures as a greater visualization of dissidence.

What makes Miller’s work even more engaging is his approach towards body image, or what he identifies as the “ugly aesthetic”:

“I want to create a world with people who aren’t flawless. […] I don’t have a reaction to perfection. I’m an advocate for the ‘ugly.’ I’m exaggerating and holding up a mirror to showcase how silly we are for making everything look perfect. We all have flaws, and that’s what interests me.”

Photography is often a medium wherein the subject is groomed, propped, and airbrushed to a level of unattainable, hyper-real perfection; for Miller, this artificial manipulation of the body is “more degrading than what [he’s] doing.” He continues: “The fact that you’re carving into a person via Photoshop is mind-blowing to me. I use shitty equipment so I don’t veil the flaws in my subjects. I want to see them how they are.” The moments of cultural rebellion he presents, then, are not only signified by unintelligible and obscene behaviors, but also by the bodies themselves, written on the skin as deviations of “perfection” and conformity.

Check out Pretty Puke on his Tumblr-based website and Instagram, and follow his burgeoning, self-titled genre of stimulating and ephemeral photography. As his sociological insights reveal, his work is open to interpretation and analysis. And if you have contentions with his forms of representation and/or the politics behind them, you are encouraged to express them; the purpose and power of Pretty Puke is to provoke and engage — and not to simply placate.

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Stef Driesen

Ghostly figures and landscapes by Stef Driesen.

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An Interactive Building That Changes Colors Depending On Your Perspective And Time Of Day

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Founder of Los Angeles-based architecture and design studio Urbana, Rob Ley has yet made another venture into the world of interactive architectural installations. This time large-scale. His project “May-September” features a field of 7,000 angled multi-color metal panels constructed onto the facade of Eskenazi Hospital in Indianapolis.

According to Ley, the project began when he started wondering about the typical notion of the parking structure. Often these huge concrete constructions are unappreciated and ignored by public. Ley posed himself a challenge to turn it into a dynamic system that would interact with the viewers as they pass it by.

Together with Indianapolis Fabrications, they’ve built a huge angular aluminum and stainless steel installation (12,500 square feet) that also features an east/west color strategy (yellow and blue). The visual experience of changing colors and patterns depends on observers’ perspective and speed when they move across the hospital grounds or drive along the street. The piece also interacts with nature as every sun beam or cloud can shape the hues and saturation of colors.

As in nature, the volume and shade offered by the piece shies away from harsh, geometric patterning – instead tending towards a gentle, dappled variability in form <…> [parts of installation] work together as brush strokes to create a dynamic façade <…>.

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