Multidisciplinary artist Jean Jullien, previously featured for his large bird-shaped bar creation, is currently showing his newest collection of work, La Plage, at London’s Beach Gallery until September 29. This collection of images represents Jullien’s conceptual perspective of beach life. The images are simple, with clean shapes and lines, but are telling of a cheeky narrative. These humorous summertime illustrations indicate the sense of unrealized desire, frustration, and absurdity that can occur when you’re seaside. The prints began as illustrations using a brush and paper before Jullien digitally processed them to enhance the colors. An important part of this work for Jullien is his deliberate reduction of black outlines. Jullien explains that the figures he has lined in black tell a story or gag, while the ones without lines indicate something a bit more subtle.
Of the series, Jullien tells Cool Hunting, “I love the beach for how minimal it is; sand, sea, sky and skin. It’s very soft and yet very colorful, so it was important for me to try to explore that graphically…When you think about it, it’s a pretty odd environment in terms of social boundaries,” he observes. “Yet everyone is as free as a bird…I draw a lot on the beach, I love how naked it all gets,”
Mostly considered for the way they might make you feel, it is less common to consider what a drug might look like. Artist Sarah Schoenfeld had this thought while working at a Berlin nightclub. She converted her photography studio into a laboratory and exposed legal and illegal liquid drug mixtures to film negatives. She then created large prints from the resulting chemical reactions. The body of work, titled All You Can Feel, consists of bizarre images of heroin, cocaine, MDMA and other drugs. The work is meant to explore the relationship between alchemy, pharmacy and psychology, but also emerges as a visually interesting and sophisticated photography series.
The images appear as visual incarnations of the physical effects of the drugs they depict—they evoke bizarre altered states that feel both alluring, otherworldly and dangerous.
Once again we’ve teamed up with premiere website building platform Made With Color to bring you exclusive artist features. Each week we join forces to bring you some of the most exciting artists and designers who use Made With Color to create their beautifully designed and user friendly websites. Made With Color doesn’t just help artists create gorgeous websites but allows them to do so in a few minutes without having to touch a line of code. This week we are excited to bring you the work of midwest painter Scott Anderson whose work balances on the fine line between representation and abstraction.
The source material for Scott Anderson’s paintings are preexisting images – found photographs, his own snap shots, drawings or collages – that fall within broad archetypal categories such as portraiture, landscape, iconography, and still life. The common denominator of these source images is distance, either due to authorship, such as in the found photographs, or time, as in the source imagery of Anderson’s own making. The act of making new paintings from these images allows Anderson to understand them in new ways and to develop a idiosyncratic visual vocabulary. In this sense, Scott Anderson is a translator. What is foregrounded in his work is the way he perceives, organizes, scrambles, and prioritizes the images he makes the paintings from. The delivery of the message IS the message. Scott Anderson’s paintings establish an alternate reality in which they are safe to exist as ordinary illuminations of their surroundings.
Although relatively abstract, Anderson’s paintings have their origins in representational imagery. This dependence on the objective along with his overall motivations put him in dialogue with early Modern art movements, particularly Dada, Surrealism, and Cubism. Scott Anderson is interested in the continuation of this art historical conversation as a means to change the rules of the game as it were. Where Modernists of all stripes were largely interested in winning the game by ending it (to paraphrase the critic, Jan Verwoert), Anderson sees this mode of objective / non-objective hybridity as one way among many in which to view the world.
Our fine friend Brian Bonus from VIMBY recently did an amazing video profile on us for our anniversary issue Z and art show. It’s a great piece- Amir discusses the very first black and white issues of Beautiful/Decay ever made all the way to our most recent issue! Watch as ten years becomes 4 minutes….
Seoul native Eunjeong Yoo is an illustrator who now lives and works in New York City. In addition to Eunjeong’s strong conceptual approach, the quality I admire most in her work is her use of color; its placement has a haphazard feel and her palette choices both emphasize the narratives and instill a sense of in-the-moment movement.
The stereotype of your average biker is probably not the first thing you would think of when looking at these images by London based photographer Bex Day. She manages to capture a personable, jovial and charming side to the bikers associated with the infamous 59 Club of London. Wanting to recreate scenes of the subculture from the 60s and onwards, Day cast different characters in certain poses that are endearing and humorous. She says:
I wanted to explore the renowned biker café, the Ace Café and explore the lives of the bikers who hang out there and get to know them better; but most importantly to investigate their take on the 50s/60s movement.
Trying to keep the scenes as realistic as possible, and true to the spirit of the 59 Club, it is important to Day that she captures the bikers how they really are – wrinkles, blemishes, hairy backs and all. She goes on to say:
I wanted to recreate the era to illustrate it in a timeless manner, which is what I try to do in all my photographs, but also to emphasize how the subjects viewed the era we were trying to portray and their take on it was crucial to the photographs.
Day wants to challenge our views of conventional beauty and to destroy the guidelines of what is and what isn’t aesthetically pleasing. A subject that isn’t normally seen as beautiful, in Day’s hands, is treated as something equally as attractive as a traditional fashion spread. Who would’ve thought long haired men wearing too-tight dungarees and ‘pimp’ glasses straddling motorbikes could be so appealing?
Based in France, skull artist Jim was born in New Caledonia, “gateway for Oceania and many other horizons. He goes to New Zealand, stops over the New Hebrids, discovers Australia, India, and lands in Hong-Kong. Human experiences, cultural, ritual, he is marked by his travels and encounters…” He is informed by “contemporary art, African, Oceanian, Amerindian, popular, religious…multiple passions and a melting-pot of influences”. Now that’s a lot of location-dropping, but it’s evident that a lot of brain-stewing and new-material-hunting goes into his sculptures.