Sam Burford lives and works in London. Inspired by such films as Star Wars and Blade Runner he creates photographic work in multiple media that encapsulate entire films within them. Take for example his sculpture made out of jesmonite that consists of a time-lapse photograph of Star Wars IV transformed into a surface relief. The film is condensed into an abstract pattern and presented as a three dimensional sculpture. In another piece a time-lapse photographic detail from Blade Runner is highlighted on hand printed film and allowed to curl for a dimensional effect. With his work he serves to reveal the optical patterns inherent in the moving image that can be captured with modern technology.
Artist Jamie Poole has taken a dramatic turn in his art recently. Majoring in Design Poole has primarily worked in landscapes. However, to create a portrait of Sophie, pictured above, he used a medium tied to her identity: English literature. Poole uses strips of poetry to create a unique collage. Words wrap around eyes and slide down noses to create incredibly realistic images. The pieces are particularly large compared to the intricately placed lines. Regarding this, Poole says:
“The repetition of collaging each line of text onto the board to make the image becomes similar to meditating in my view. It also means I can really focus my attention on each individual area of the picture to really look closely at the subject and learn about her.”[via]
Mitsuko Nagone’s photographs use bold colors, humor, and the human form to create bold surreal images full of hidden surprises and surreal narratives.
Austrian/Croatian Design Collective numen/for use has created many varying types of “social sculptures” over the years. Their latest effort is formed from interwoven nets, sandbags and wires and acts as a walkable structure. Housed in the OK Center For Contemporary Art in Linz (Austria), visitors can walk, lie in, grab onto and pull themselves through the nets. This sculpture stands in for the staircase normally used in the exhibition space. The nets are strung up from the ceiling and stretched out with the help of sandbags at their bases, creating different forms, shapes and pathways ready to explore.
These images show just how surreal the experience is – as if you are walking through mid air without enough support, unaided by any hard surfaces. We can see just how immersive this course is, with the nets stretching out in very organic ways around the people walking. As the gallery goers make their way through the course, traversing along the tunnels and scaling heights, one is reminded of the contour lines on a topographical map. It feels as if we are seeing images of people in some new virtual reality – or a glimpse of the future environments that will one day surround us. Perhaps this is the new ergonomic way of walking?
This architectural technique numen/for use has created is similar to Tomás Saraceno‘s exhibition Cloud Cities. He choose to create inflatable spheres and other large structures which visitors accessed with ladders. Just like in “Net Linz”, people could lie on and move around within these forms. Saraceno has also enlisted the help of nets in the past to create a similar feeling for his guests; one of weightlessness and the defiance of gravity. Perhaps we will all get to experience this in the near future? Perhaps nets will eventually replace escalators, elevators and even the humble staircase…. (Via Designboom)
Artist Brian Adam Douglas makes use of a unique process. Before exhibiting at galleries, Douglas began his practice on the streets of Brooklyn under the name ELBOW-TOE. His distinctive style was easily spotted as he used wood cuts, charcoal, collages, and stencils throughout New York City. Douglas has since further developed his process, style, and subject matter. He has retained his painterly style that could be found in his street art and paintings. However, Douglas now applies this to a special kind of cut paper art or collage work. In fact, he prefers to call it “paper painting”. Douglas paints individual parts of paper precise colors and carefully cuts them. All of these small pieces are then often adhered to a wood panel to create one painting-like composition. While he has often focused on individual people, Douglas has now ‘zoomed out’ in a sense. His work now often encompasses entire landscapes or scenes. These scenes frequently touch on natural disaster and specifically the way people cope with them. The statement of his current exhibit at Andrew Edlin Gallery further describes this style:
“Virtually all of the works in Douglas’ new series deal with the rebuilding of life and purpose in the wake of catastrophic deconstruction brought on by natural disasters and climate change(including overt references to Hurricanes Katrina and Sandy). They are not merely about the breaking down of things but about an innate capacity to cope with disaster and the rehabilitation of purpose. Spending up to half a year on a single piece, Douglas’ laborious process demands a pictorial integrity where nothing is wasted and everything serves his intensity of purpose. Forgoing the relative ease and fluidity of the brush stroke, the artist methodically builds his compositions through shards of color incised from sheets of paper he has painted, forging a novel way to combine painting and collage into a singular hybrid.”
Will Ritson sent us an email of some of his work. This guy knows how to push a pencil. His illustrations are pretty sweet, so enjoy!
Kehinde Wiley‘s impressive painting career is being celebrated at the Brooklyn Museum in a grand exhibition that is open right now. For fourteen years, he has been painting bold, decorative oil paintings that are reconfiguring the way African American culture is portrayed in art. He takes the techniques from the old European portraiture masters and turns them into modern and fresh images, relevant to a post-colonial culture. Old stuffy aristocrats and patrons wearing flouncy blouses and ridiculous wigs from centuries gone by, are replaced by black subjects with a certain street style to them.
Wiley asks different people – most of whom are regular passer-bys on the streets in Harlem, to sit for his portraits. They are given different art history books full of ornate backgrounds to choose from to complement their portrait. Wiley then paints them reenacting certain poses, imitating the European subjects and places the chosen embellishments behind and over their image. His style is a fusion of many different elements – French Rococo and the High Renaissance, Islamic architecture, West African textile design and urban hip hop, and is a result of his own mixed heritage.
Wiley later went on to create a series called The World Stage, where he traveled to Mumbai, Senegal, Dakar and Rio de Janeiro to portray different cultures and traditions in his work. He explains more:
One of the reasons I chose Brazil, Nigeria, India and China is that these are all the points of anxiety and curiosity and production that are going on in the world that are changing the way we see empire. As I’ve been traveling, I started to notice that the way many people in other parts of the world interact with American culture is through black American expression. It’s an interesting phenomenon. (Source)
Kehinde Wiley: A New Republic is an exhibition showing over 60 of his paintings and sculptures, and is on until the 24th of May.
Creative collective Funwunce brings together a group of talented artists from various genres to create mind bending artwork for your needy eyeballs. Some of my favorite works on their site has to be their album art and prints which seemlessly blend analog and digital skills for you to enjoy.