We first featured William Emmert’s work last year but he’s back again with a great new body of work revolving around posters from his childhood bedroom and other objects of nostalgia. Join him as he takes us back to the 80’s when Urkel was king and the Undertaker ruled the WWF.
One year in the making, Loom is an epic story of a moth caught in a spiders web. You probably can guess the outcome but rest assured that you’ve never seen nature take its course in such an intense and vivid way. Watch the full video after the jump.
Vincent Fournier is a talented Belgium based photographer who enjoys documenting his extensive travels. In one of my favorite series of his, Space Project, Vincent visits space centers around the world and documents his visits through photography. But what truly makes Vincent’s work so enjoyable is that in nearly every shot, he creates within it beautiful, and sometimes troubling, imagery of contradictions. Such elements I noticed a lot in this series is technology vs. nature; the human imprint within the world. He seems to be particularly interested in the transformation of the environment as we progressively construct ourselves a society moving further away from nature.
Through Cleon Peterson’s paintings, we encounter a world riddled with anxiety, corruption and savage ferocity, where deviance and violence equal the usual state of affairs. Peterson describes his bedlam as “a gray world where law breakers and law enforcers are one in the same; a world where ethics have been abandoned in favor of personal entitlement.”
Peterson depicts life as war between displaced individuals in a dystopian world. Acts of brutality, abuse and perversion serve as rituals of power, revealing narcissistic indulgences in violence, sex, religion and drugs. In exploring the tension between the individual consciousness and unconscious psyche, Peterson’s paintings bring to light the resulting possibilities when varying moral schemes are personified. When faced with the dilemma of fight or flight, it’s fight. We observe an ongoing struggle in the thick of a contemporary world, where the instinctual desire to survive through primitive actions takes reign.
See the above works and more currently on view in San Francisco at Guerrero Gallery. On view until April 7th, 2012
Dana Oldfather is an artist that currently works in Cleveland, Ohio. Her abstract paintings have this beautifully organic nature that it almost feels as if she painted from a bio-lab sample of a plant. Composed of oddly shapes, splashes and blobs of paint, her color scheme is very earthly and neutral and this helps set the tone in the painting.
She states about her work, “Each work is an attempt to elegantly express the embodiment of paradox; a physical manifestation of conflicting desires communicated in an abstract arrangement of forms.” She will be showing her work at William Rupnik Gallery in Cleveland, April 23 – May 9, titled We Are Mountains.
Sawatari’s vision of Lewis Carroll’s “Alice in Wonderland” is truly one of the strangest, most out-there interpretations of the well-known story. Risqué in terms of its frank, nude depiction of a youthful Alice, the book’s unintentionally psychedelic tone brings to mind Monty Python, Peter Greenaway, and Vogue Bambini.
Zero Cents is a Tel Aviv-based artist with a furious repertoire of grotesque, figurative imagery. Found both in galleries and on walls, these works go beyond the average “get-under-your-skin” fare, as they are rendered in a seemingly care-free, playful fashion. Taking us right to the point where we may be too overwhelmed by subject matter to connect, Zero Cents redeems everything with light dustings of spray paint, undeniably human brushstrokes, and sardonic installations.
If Raul Gonzalez had a soundtrack to accompany his drawings, it would be a mash up of old Disney movie themes, Death Metal and Mariachi music. It’s a bizarre mix of badass and cute, (cute like a two-year old giving you the finger) all on color splotched and stained pages that make you feel like you’re getting a secret look into Gonzalez’s personal sketch book. You can imagine the free-association process that went into each image, each element building, as if at some point Gonzalez thinks to himself, ‘it would be rad if the chicken was coughing up a human tooth,’ or ‘this guy should have a beat up severed head in one hand and a flaming cigarette in the other.’ And what may look like stains or scribbles reveal themselves to be crucial compositional devices that contribute to the overall success of each illustration. Best of all is the playful freedom: while the characters are often beheaded, impaled, beaten, or in some state of peril, there is always an aspect of humor and joy. Even if it’s the kind of joy some of us got from frying an ant hill with a magnifying glass as kids. Gonzalez brings to mind some of most underappreciated cartoons to hit the glowing screens in American homes, shows like Ren & Stimpy, Beevis and Butthead, and even Itchy & Scratchy on The Simpsons. Shows that are so awesomely gross and hilariously violent they pull at the heart strings of those of us who liked to poke dead things with a stick.