Wyld File is a group of Flash animators creating work that’s pretty much in the same vein as Paper Rad‘s stuff. In fact they may very well be the same people, judging from the amount of times Paper Rad is referenced on Wyld File’s website. I think my favorite part of their gimmick is their parody (I think?) of Dogme 95, purporting that their brand of Flash animation is revolutionary and pushes Flash to its limits.
As Paper Rad puts it ,”A lot of cool shit was done in Flash, but there was never anything really that looked so funky that pushed Flash behond it limits, into an arena where the very tools of Flash have eaten themselves and caused a creative process to evolve against all the things Flash isn’t supposed to do.”
Paper Rap insists the loosely based value system “Dogman 99” consisting of the rules “no Wacom tablet, no scanning, pure RGB colors only, only fake tweening, as many alpha tricks as possible”…
Alright folks we are down to the last 15 copies of this book! Based on the sales from yesterday I give it one to two days before we sell out of Beautiful/Decay Book:2 forever! That’s right, once we sell out we will never reprint this book. Hop over to the shop and get your copy or you’ll be stuck surfing Ebay to complete your Beautiful/Decay collection!
Mexican born artist Ana Teresa Fernández “erased” a portion of the U.S. and Mexican border. Using a fifteen foot ladder, a spray paint gun and a generator, she painted a portion of the metal wall that separates Playas de Tijuana and San Diego’s Border Field State Park. By applying a powder blue paint, Ana Teresa Fernández was able to create the illusion that some of the border had disappeared into the sky. During her performance she wore a “little black dress,” representing the Mexican tradition of “luto,” which is to wear all black for one year during a period of mourning. This act is the artist paying homage to the hundreds of thousands of people who have lost their lives attempting to cross the border, getting to the true heart of the matter. Border patrol between the United States and Mexico has been a controversial topic for decades. Depending on which side of the border you are on, the large metal wall means something drastically different. For many Mexicans, the border represents being kept from opportunities and the ability to have access to a better life. Despite the project having nothing but optimistic intentions, the artist did face some objection. In the middle of painting, Ana Teresa Fernández was stopped by the police who attempted to arrested her. However, after a half an hour of explaining her concept, she was let go. Following the projects completion the artist received hate mail and was called a “Mexican terrorist.” She believes her project is feared because it “re-contextualizes a possibility” of peaceful coexistence.
Laura Krifka’s work feels both classical and contemporary– a collection of myths that transcend time, stuck on the spin cycle from one era to the next. There is a soft religious quality in each face as he or she slowly responds to pending doom, lurking out of view. Such off stage suspense, feels exactly this way– theatrical.
The dramatic cliche breathes with familiarity, reminding us of our own cyclical head space in relation to history, story archetypes, life, and to our own animalistic emotions or neurotic human obsessions. It’s why we make art and why we repeat ourselves generationally and artistically.
Of her paintings, Krifka states, “I create a world populated with naive and innocent figures acting out their own legend, blind to the dangers around them or those that exist within themselves. In my work the fantasies and clichés of our own world combine and breed, creating a hyperbolic landscape populated by a society lost in their own myth.”
Livia Marin‘s Broken Things seem just fine. The sculptures of her Broken Things series do indeed appear to be broken ceramic dishware. However, for what the household items lost in usefulness retain in its aesthetic value. Congealed liquid seems to pour out of the damaged cups. The decorative patterns are pulled along out with the container’s little spill. The sculptures are reminiscent of a family’s “good china” – utilitarian objects that seem to cherished for their decorative nature rather than ever see any use.
Playing with the viewer’s sense of spatial perception, artist Leah Wolff‘s works quietly pique curiosity and bend the mind. Wolff explores visual paradox through several small series of medium-specific artistic investigations. By giving her mind-bending drawings, sculptures and relief works the element of visual confusion, Wolff’s creations cause the mind to try to connect the dots over and over again—creating a mental feedback loop that’s hard to ignore. The immediate presence of the artist’s hand in these works is at times the most interesting part of the series, how she chooses expressive movement when most artists would strive for complete, flat, graphic perfection. Her use of each medium is intuitive, yet raw, leaving a curious series of entry points for the viewer to tackle each small, imaginary space.
From the artist: “Discoveries in modern science have lead the individual to a space of intellectual disconnect from their surroundings. I want my practice to resist this, as a new method of research where I find meaning through making. However, If our universe is truly infinite, then how can we possibly understand it? It is important to remember that this is a spatial concern that can be addressed and worked out intuitively through the physical act of creation. For me, this is the point and ultimate goal of my practice.”
Ethan Cook lives and works in New York. He utilizes dye and pigment to create large abstractions that are both earthly and galactic. The press release from a May 2012 exhibition at Ed. Varie in NY states that “Cook’s current body of work is a continuation of his interest in representing time and space through the exploration of traditional craft and process. Through an additive and reductive process of dyeing, bleaching, boiling, painting, folding and staining, the materials Cook employs become a part of the canvas’ weave. The canvases are worked, dried and reworked again and again to completion, resulting in an indexical manifestation of it’s own history.”