Street artist Pejac uses trompe l’oeil to fool our eye in everyday places. The Spanish creative paints realistic-looking doors and windows that’ll make you do a double take while walking by. His skilled artworks perfectly blend colors and textures to give them the appearance that you could reach out and touch them.
In addition to the optical illusions, Pejac also paints playful and serious scenes, often using silhouetted figures. A young girl – a giant – uses the power of a magnifying glass and the sun to set tiny figures on fire. Another person attempts to deface a wall, but the splatter features Manet’s iconic The Luncheon on the Grass. And, in a more poignant piece, a portrait of the world appears to run down a sewage drain.
The common thread of Pejac’s work is that it is all clever – in its execution and concept. Even though the imagery is disparate, you can tell it’s his signature. (via WETHEURBAN)
German artist Anne Wölk uses film stills as her main source of inspiration for these surreal paintings that are in a permanent state of flux.
Peter Cross makes pencil drawings to salivate over, precise and delicate, they bear witness with photographic verisimilitude to times and places that have never existed but seem weirdly deja-vu-ish. Cross worked for over twenty years as an art handler and then as a registrar in Manhattan galleries. Much of that time was spent with Leo Castelli, where he worked with artists like Jasper Johns, Robert Rauschenburg and Roy Lichtenstein. When I first got to NYC Peter hired me to install shows, and despite my being nosy and persistent, has always been extremely secretive about his drawings. I finally got him to email these. Peter doesn’t have a website just yet, so if you want to contact him – leave some way to be reached in the comments section.
Mark Hunter Brown is a truly dynamic individual. I have known Brown for the better part of a decade, and I am relatively positive that I will never meet another person quite like him. With each day functioning more like the next chapter in a bizarre novel, his zest for life is infectious. Luckily, Brown is also an amazing artist, and has managed to document his interests and experiences through countless drawings and paintings. Though he gains inspiration from his travels, the work is not limited to the places and people he has actually interacted with. Brown is also heavily influenced by the written historical accounts of different cultures and people, but the work is not about visually representing his source material. Instead, he chooses to focus on the importance of the moments recorded history has chosen to ignore. There is this dead zone in between the great scenes of history that also warrants consideration, and Brown is keenly aware of this. When asked why he is drawn to this type of situation Brown replied, “because life doesn’t look like a Delacroix painting – it’s just people walking around and eating sandwiches. These moments seem more real to me…they’re equally compelling.”
While these scenes are not infrequent in his work, Brown’s practice is not limited to this type of subject matter. There is far less literal material in Brown’s oeuvre, and his vivid imagination becomes readily apparent when looking at paintings of huge figurative fortresses or anthropomorphized coo-coo clocks snorting bones off of a table. When viewed in context these paintings start to function as some sort of bizarre allegory, but their meaning is never explicitly stated. There is such a rich diversity in the distinctive worlds that Brown creates, and no piece is less detailed than the last. Whether he is teaching at Columbia, backpacking through Morocco, or boar hunting with monks in the Italian countryside – the need to process the world into visually compelling images has remained consistent within Brown’s life. Lucky for us, his mind seems to function like an endless supply of Google image search results that I have no desire to stop looking at any time soon.
Tricia Cline’s delicate sculptures in porcelain reveal a world where the lines between animals, nature, and man are blurred.
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)