You can catch her tonight, February 1st in Houston at Fitzgerald’s, Feb. 5th at Phoenix’s Crescent Ballroom, and next Friday, February 8th at the First Unitarian Church in Los Angeles along with Deradoorian from Dirty Projectors fame opening the show. She’s also performing on April 20th at the Desert Daze festival in Mecca, CA along with Warpaint. Check out her video for Flatlands and grab a ticket to one of her upcoming shows for what I’m sure will be a beautiful evening of music.
French artist Fabian Mérelle creates surreal illustrations that are as nightmarish as they are beautiful. Rendering incredibly detailed scenes with a dark side, his depictions of monsters and strange creatures are reminiscent of Goya’s more sinister illustrations. Fabian Mérelle constructs fantastic and elaborate scenes of dreamlike proportion, stretching the imagination and filling our minds with mystery. Each scene is like a fairytale or fable that may not have a happy ending. The foul creatures that invade Mérelle’s intriguing work seem to have come from mythology or legend.
The drawings are showing an obsession for detail veering on mania and pointing out the precision of a line layed minutely with China ink. If he pays homage to the Little Nemo comics, he projects the spectator in a universe much more complex, mixing evil spirits, watches and childhood fears. -Fabian Mérelle
Many of Fabian Mérelle’s drawings are somewhat simple in nature, but speak volumes to the artist’s skill once we examine the attention to detail made with ink. His muted palette is balanced with a shadowy atmosphere and a hazy mood. What is so amazing about the artist’s work is that even the most bizarre subject is anatomically correct, even with gargoyles picking at the figure’s body, an elephant standing on its back, or when the figures is halfway turning into a fallen tree. Although holding an ominous tone, Mérelle’s illustrations captivate us and throw us head first into childlike imagination.
Paa Joe’s sculpted coffins blur the line between art and craft. Each work is carefully constructed to reflect the ambition or the trade of the person for whom it was made. They are not dead things but are instead a manifestation of and indeed an affirmation of life. The works are wholly African and are a contemporary embodiment of traditional tribal burial rituals and art practice. They link back to pre-colonial West African sculpture but also recall the pomp and extravagance of ancient Egyptian royal tombs.
Iranian photographer, Eilon Paz takes photographs of over 130 vinyl connoisseurs and their collections in the most intimate of environments, their record store rooms. Paz, a record collector himself, thought it might might be interesting to explore the people around him whose record collections are both larger and weirder than his own.The stunning, candid photos look at a variety of well-known vinyl champions as well as a glimpse into the collections of world-renowned and lesser-known DJs, producers, record dealers, and everyday enthusiasts.
In a 416-page coffee-table book, Dust and Grooves, Paz’s photographs are grouped together with compelling essays that closely examine the records and the people whom collect them. The book is divided into two main parts: the first features 250 full-page photos framed by captions and quotes, while the second consists of 12 full-length interviews that look deeper into the collectors’ personal histories and vinyl stories.
Brutal, arresting, and violent, Molly Segal’s large format watercolors of hungry, rabid pack animals serve as symbols of both watchers of and participants within pernicious social situations; these scenarios, coupled with paintings of messy, passionate, unleashed sexuality are all depicted using loose, uncontrolled brush strokes, that often leave dripping paint behind. Her watercolors are made on a waterproof paper called Yupo, so before she even beings her process, she has initiated a battle between contradicting mediums. In her statement, she describes how this impacts her work:
“The loose, wet on wet technique of watercolor on Yupo paper helps me explore the ambiguities of our own boundaries. Because Yupo paper doesn’t absorb any of the paint all of the pigment sits on top, vulnerable to the elements and impermanent. The impermanence and vulnerability of the paint itself references the fleetingness of youth and the fluctuating nature of memory.”
Molly Segal is originally from Oakland and is currently an MFA candidate at The School of the Museum of Fine Arts in Boston.
While Kiel Johnson constructed an entire magnified twin lens camera out of cardboard (which actually works, amazingly but not surprisingly), Theo Jemison artfully captured the endeavor on another medium, film. It’s more than just a time-lapse video, it’s beautiful and captures the fun and tediousness that was involved in making this gigantor camera. Click here to see photographs the camera actually took! They’re eerie and gorgeous, just in time for Halloween.
We are please to announce the release of our newest book, Beautiful/Decay: Future Perfect. Presented by Toyota Prius Projects, Beautiful/Decay brings together over 100 artists from around the US creating new imagery revolving around the books “future perfect” theme.
We asked artists to “show us what your ideal future would look like.” and over 300 submissions poured in, spanning every medium, technique, and style. From the 300 submissions, one Grand Prize winner was selected and over 100 finalist’s work will be featured throughout the publication.
The book also includes a feature length article with notable, emerging, New York artist, Robin Williams whose surreal paintings give us a view into her very own Future Perfect. Only 1,500 copies were made, all of which are ad-free and hand numbered. 80% of the 1,500 books are already sent to subscribers so make sure you grab your copy before they inevitably sell out!
Shintaro Ohata’s painting slash sculptures are beautifully finished glimpses into another world. The artist, born in Hiroshima, Japan, creates paintings that are accompanied by three-dimensional sculpture. Both the painting and the sculpture are so perfectly rendered that they seamlessly intermingle with one another. Ohanta’s painting abilities incorporate light, mood and subject impeccably. The effect is a snapshot out of a narrative where each figure is the heroine of her own story. A girl perched on a ledge blowing bubbles, the girl dancing through a nighttime urban scene, or my favorite, the girl walking amongst puddles that reflect the sky, looking up, which happens to be out at the viewer; each of these scenes has a unique story that feels very sweet, compelling and endearing.
There is a theme of solitude to Ohanta’s work. His subjects, usually young girls, are generally depicted alone, or in such a way that they seem alone, often in urban environments where there should be other people around. The paintings, however, are not lonely. Rather the subjects feel like they are lost in their own world, seeing, thinking and feeling things that we as viewers can only conjecture about.