“Painting” is the name of this recent series of self portraits from Japanese artist Kimiko Yoshida. In each photograph, she attempts to replicate a character from a painting. More after the jump.
British Artist Andy Goldsworthy is a master of ephemeral work, capturing the beauty of nature and tempering it with the fleeting nature of all organic things. Each one of his works is a collaboration with nature, and with each piece he strives to gain a closer understand of nature through these intimate interactions. Using his hands and “found tools,” Goldsworthy’s work is a celebration of the world outside the buildings that humans spend their lives inside. His photographs capture the sculpture moments after they are complete, afterwards the sculptures live on changing with the wind, rain and elements until it ceases to exist as Goldsworthy shaped it.
Such is the nature of the Woolly Pocket. Woolly Pocket allows the urban dweller to manipulate nature and incorporate plants into formerly inhospitable territory. Woolly Pocket can take over a wall, fence, living room or any structure and make you the sculptor of your surroundings. Our favorite aspect of Woolly Pocket is their Woolly School Gardens project that connect schools looking to start a garden with community members looking to support their efforts. Help kids get their hands dirty by visiting Wolly School Garden and find a school near you to sponsor.
New York – based painter, Winston Chmielinski creates an incredibly striking collection of work that may appear a little washed out, but, oddly enough, works to contribute to the powerful execution.
After unknowingly purchasing fake pre-Colombian artifacts, artist Nadín Ospina gave serious thought to Latin-American culture and its ancient roots. His sculptures depicts pop-culture cartoon characters such as Snoopy, Micky Mouse, and Bart Simpson in an often pre-Colombian style. His work is a powerful but simple comment on the globalization of entertainment and information. How much of our personal and collective identities is lost to an increasingly global community?
Nicole Dextras takes typography into the final frontier creating three-dimensional words created purled of ice with some letters being as tall as eight feet high! Im a huge Andy Goldsworthy fan so this work immediately caught my eye! My favorite aspect of the project is that the type is continually changing due to weather conditions making the sculptures change as the sun comes up and goes down.
“It’s Hardly Noticeable explores the world of a character who navigates living with an unspecified anxiety-based mental illness. He negotiates situations constructed to highlight the impacts and implications of his differences on his thoughts and behaviors, and by doing so raises question of normalcy. Through constructed tableaus and metaphorical still lifes, the series reveals the relationship between reality and perception, and highlights issues of pathology while questioning stereotypes of normalcy.
In 2009 economist Bill Gross used the term New Normal to define the American economic landscape of the very recent past. In ensuing years, the term resonated with culture at large and became an umbrella term for changes in cultural and societal practices, identifying a shift in held notions of what is commonly viewed as acceptable.
These images question the legitimacy of applying the term normal in a societal context by prompting a reconsideration of what, if anything, is normal, or at least what is perceived and labeled as such. Is it possible for a society to have a commonly held idea of what is normal, when few individuals in that society actually meet the criteria for normalcy?” – John William Keedy‘s artist statement for this series.
Ellen Jantzen‘s newest photoseries, Disturbing The Spirits, explores the photographers recent interest in the healing power of nature. In her series’ statement, the St. Louis-born photographer questions, “As human actions impact the natural environment, can artists heal nature? Does art bring “special powers” to the table? If so, what are they? What is ‘art’? What is ‘nature’? What needs healing?”
Focusing on the cameras ability to record fleeting elements of natural elements, Jantzen hopes to bring attention and connection to our environment, often represented in the series by trees. The artist explains, “In “Disturbing the Spirits” I am using imagery to convey my feelings about the state of nature, the nature of trees, and how to express their connection to past, present and future.” The added element of digital manipulation, pulling the image into sheets of linear veils both obscures the focus, yet creates an alluring, gossamer magnetism. Jantzen continues, “By obscuring a portion of the image through a veil, I strive to heighten the remaining reality through discovery and reflection.” The work is made more convincing by using these digital aftereffects, bringing attention to the necessary connection (and beauty) possible when both human and nature coexist.
Although many of the photos present human-altered versions of bucolic landscapes, forests and watery reflections, Jantzen’s work does not seem to say that the natural world is perfection. Rather, the images she depicts are impermanent, and simply reconnecting with nature is not a remedy to our human condition. Instead, the transience (if respected and protected) is the beauty, and will continue to regenerate forever if allowed. Jantzen acknowledges this, stating “(trees) are seen as powerful symbols of growth, decay and resurrection….a tree’s longevity can lull us into a false sense of immortality. It is this very impermanence that I long to understand through my photographic explorations. There is an ineffable natural beauty…. too great to be expressed or described in words.” (via lancia trendvisions)
New York artist Alison Blickle creates interests paintings in which female nudes (which I think are roughly self-portraits) are pictured in the majestic beauty of nature. While this might not sound all that revolutionary on its own, there is an interesting, almost cartoonish aesthetic in the paintings which creates a sort of off-putting sense of abstraction/simplification, as if this reality is very far from the artist’s life.