Evie Woltil Richner is a Florida based artist. She combines personal family photographs with feathery shroud like drawings creating a beautiful monument to memorialize family members that have passed on.
Within his series Cowboys, Italian born artist Stefano Galli captures the essence of the rodeo. When encountering Galli’s blurred displays of fast paced moments, at first glance, the images almost take on a painterly aesthetic. The blended earth tones enriched by small marks of what could be cadmium red mimic the sort of guttural intensity found in Abstract Expressionism. Yet, with further inspection, it becomes clear that these moments are, in fact, not abstract at all. Galli’s series displays a hyper specific sensibility of the rodeo — they go beyond what is physically there and take on the challenge to document both the visual and psychological affect the rodeo has on these cowboys. With a crowds of faceless faces, bucking broncos whose warped bodies begin to take the formation of something out of a Francis Bacon painting, and long, lingering lights that possess a cinematic feel, Galli is able to represent the true element of movement. His photographs are a clever answer to create a discourse on a challenging topic for a motionless medium: speed. But, more importantly, his images provoke not only a discourse on gesture, but also on control. What does it feel like to have control when all sense of homeostasis is disrupted? How does one remain in control? And further, through the distortion of the image, is Galli provoking the viewer to lose his or her control? Are we asked to let go of our need to make sense of what we’re seeing? Perhaps, for a moment, we should act on instinct. Delicate yet powerful, Stefano Galli truly exposes a contemporary visual thought process on an age-old tradition.
A stint in prison for selling drugs helped Australian artist Bindi Cole refocus her mode of expression. Having always been interested in photography, shortly after her release Cole began focusing her work on issues of identity. Aboriginal, but fair skinned, Cole had never really been sure about the way she identified with the stereotype of the Aboriginal. Her Not Really Aboriginal series, which featured fair skinned Aboriginal people in blackface, garnered her much attention.
In another work, EH5452 (Cole’s prisoner number), Cole documents her time in prison using photos, diary entries and prison issue personal items such as cigarette papers and lighters. Cathartic, for Cole, the project in her words “aims to turn something dark, hidden and shameful into something light, revelatory and beautiful.”
In yet another series, Cole spent a month capturing portraits of the Tiwi Island culture’s “Sistagirls.” A Sistagirl is a transgender person. Formerly revered in the culture, after the culture was colonized and converted to Catholicism, the Sistagirls became shunned and excluded from their tribe. Existing in their own mini world, Cole sought to capture the essence of who they are and the spirit o their community.
Collaborators Marquismontes must be a fashion shoot chameleon, able to shoot in hundreds of various styles, looks, and techniques that keeps the viewer on their toes and wondering what they’ll do next!
Ever since I was a little kid I remember flipping through the L.L. Bean catalog. I never really bought anything from them but I always thought of them as a heritage brand and a classic symbol for Americana. To celebrate their 100th anniversary L.L. Bean tapped famed photographer Randal Ford to recreate their popular Spring 1933 catalog cover using local residents from Maine’s Acadia National Park. L.L. Bean documented the entire photo shoot in all its outdoorsy glory with a short behind the scenes documentary. Witness how a vintage painting gets transformed into a modern photograph after the jump!
Los Angeles based illustrator Jason Holley creates beautiful illustrations that often resemble intricate, old-timey medical drawings but with a certain twist. His illustrations have a sense of decay, as if he attaches the age of these styles onto his work as well. It appears dirty, but the close attention to detail, space, and color really pulls his work into something gorgeous.
I had Jason Holley as a teacher of mine over at Art Center College of Design. He wasn’t an easy professor, but that is because he really pushes us to pass our established potential. He is an amazing person to learn from.
Ben Foster‘s sculptures almost appear to be comptuterized digital renderings at first glance. An industrial and natural artist, Foster creates these life-sized animal sculptures out of enamel-coated aluminum, often placing them in the natural environments that surround his New Zealand home. The sculptural form juxtaposed against the natural landscape has a stunning effect, appearing to be at once disparate and cohesive.
From his website, “Foster’s geometrical rendering is suggestive of the animal’s inherent connection to, and place within, the natural environment. Characteristically, it relies on the interplay of light and shadow and while the subject matter is ostensibly pastoral, the result is dramatic with the sculpture’s silhouette as commanding as the mountainous landscape it resembles.” (via colossal)
The show opens tonight at Gallery1988 in Los Angeles from 6-10PM and runs until April 23rd. Check below the cut for some previews of the works. See you there!