Whether we imagine the world as a futuristic dystopia or a charred wasteland, post-apocalyptic images weigh heavily on our cultural imaginations. In a stunning series of illustrations, Russian artist Yuri Shwedoff has created an intensely atmospheric vision of the “end of days,” one that blends fantasy imagery with science fiction. Among his scenes are sword-wielding warriors, blasted roads, alien architecture, and falling skies; as vestiges of the lost world, animals seem to take on a symbolic significance, communing with the human figures in moments of intensity and reflection. Pulled between oscillating states of violent destruction and quiet despair, Shwedoff’s images are bound together by a powerful atmosphere that emanates from the brooding, ash-filled skies.
While many of Shwedoff’s artworks feature otherworldly phenomena — such as the telekinetic gladiator — what makes them most evocative are their ties to the world we know. The space shuttle, for example, sits dormant on its launch pad, embedded in dust and waste. Perhaps it was prepared to escape the world; now, it becomes aged scenery for the lone horseman who regards it on his journey. Similarly, the alien pods in “Cradle” suggest a landing with no escape plan; now, the structures are merely shelters for those who survive. Instilled with imagination and emotion, Shwedoff confronts us with powerful images of a lost humanity that has surpassed its technological limits and reached an inevitable end.
Comic Sans Destroyer is a project that was designed by Happiness Brussels, a communication agency, in order to find a new graphic designer. The project includes an application you can use to apply for their job opportunity. The concept of applying for a job has gone creative for creatives! The artwork was done by Jean Andre.
John Pham is most well known for his Graphic Novel Anthology Sublife as well as his work on Cartoon Network’s Problem Solverz. His personal work consists of vibrant gouache paintings that simultaneously reference modern design ethics and vintage computer imagery. Pham’s Tron –like environments exist as streamlined versions of Atari 2600 graphics.
While on his residency at JACA in Belo Horizonte, Brazil, photographer Marco Ugolini, in collaboration with Pedro Motta, created the series ‘Per Color’. The striking photographs, taken at a local supermarket near JACA, capture the merchandise by category of color: yellow, red, blue, black and white. With success, Ugolini showcases the lack of diversity in colored packages, perhaps revealing that the corporations that distribute the many products shown here are specifically using the same colors palettes because of an underlying psychological reason- the consumer will buy in excess if the color is vibrant and attractive enough. By visually displaying the ubiquitous packing format and color choices, he also aims to reveal that the supermarket serves as a space of manipulation. “My attempt in this action”, Ugolini says, “is to subvert this structure of power.” (via Ignant)
Did anyone hear about the possibility of the United States opening its travel sanctions with Cuba? I love Barack Obama! Before the 2008 election, the Castro administration stated that they were “very interested” in sitting down for discussion with the United States, but only after there were no Bushs in the white house. No joke. He really said that. And I cant blame him, Bush has been such a dickhead towards Fidel and Venezuela’s Hugo Chávez that we Americans had no possibility of becoming friends with our southern cousins. This is a small taste of the amazing Venezuelan graphic design talent that we are missing due to our modern day mccarthyism.
Kentucky-born, SCAD-educated photographer Dana Goldstein’s work is comprised of candid, documentary photos depicting (among other things) youth culture in the late 00s. At times reminiscent of Nan Goldin, the images showcase both the innocence/fun and lack thereof of growing up nowadays. I particularly enjoy the photos of gutter punks.
Polish fashion photographer, Sylwia Makris, creates photographs that juxtapose an academic portrait aesthetic with a steampunk sensibility. Sylwia’s work resembles dark and dreamlike worlds where bodily expressions, makeup, clothes and the environment itself come together to tell a unique story full of charm and mystery.
Makris’ recent body of work, a series of portraits that resemble the dark and the beautiful, serve as an artful glimpse on our current fashion aesthetic condition- in Makris’ terms, of course. It primarily features pale-white women and men encapsulated in a black background in steampunk formalwear; many are tattooed or pierced, if not wearing dark makeup. The models wear extravagant headpieces that pile up on top of their head like the headdress of wild mythical creatures. She photographs people that are strong or delicate, broken or dynamic. She photographs the faces of our time-and in doing so, she gives a face to our time in her own terms.
The dramatic lighting and over-the-top costumes are not what we deem real, however. Perhaps, what is real, in this case, is Makris’ faith in the strength of an expressive and strong appearance and personality; a belief that through her gothic, steampunk characters, she illustrates very clearly. The intensity and confidence that exudes from her subjects is not to be missed and certainly not to be disbelieved.
This installation of Martine Feipel and Jean Bechameil is as much about the structure as the empty space within it. The installation’s title Le Cercle Fermé, or the Closed Circle, offers a clue. Like a closed circle Feipel and Bechameil offer a finite space that in some ways look familiar, much like a home. However, the artists playfully alter the structure and its furnishings to throw viewers off balance. The warped rooms make visitors acutely aware of the space and how they interact with it. In a way this calls to mind more benign spaces like bedrooms or kitchens, and encourages us to consider how such familiar spaces influence daily life. [via]