At first glance at London-based Benedict Radcliffe’s work, I thought, “Oh, a computer generated drawing of a car…okay.” Then I immediately realize it is not as boring as I had first assumed! No! These are, full scale, actual wire-frame representations of a Lamborghini, Subaru, etc.
Spanish illustrator Irma Gruenholz constructs hand sculpted, three-dimensional scenes using clay. Her surreal compositions primarily involve portraits of rosy-cheeked humans coupled with fantastical characteristics. A woman, posed like a frog, captures small human flies with her long tongue. Another illustration features a woman catching small bits of light between two chopsticks. Gruenholz forms the clay into smooth, elegant figures that don’t immediately read as handmade – they look like they could’ve been digitally produced.
A lot of work goes into crafting these illustrations. Gruenholz individually creates each character each character and scene using sculpting tools and paint. They’re held in place by stands and posed correctly. Scenes are photographed and later edited to remove the supports and produce the illusion that they could possibly be real.
What do birds hallucinate about when they go on a drug berry induced psychological trip? I don’t know if any of this would be accurate, but I hope to rainbow laser toting, owl-man monster-bird it is. A gorgeous music video of Hermanos Inglesos’s“Wanderland,” designed by Kristof Luyckx and Michèle Vanparys.
Beautiful/Decay recently “wrapped” up our Book 2: What a Mess! Release party at Synchronicity Gallery. The event was super fun, with the Beautiful/Decay team past & present in full force, including appearances by such former B/D intern superstars as Lyndsey Lesh, Greg Ruben and Alexis Kaneshiro! (Am I forgetting anyone?) The B/D team had a booth replete with gift wrap, the debut of Book 2 and more. Check out our Flickr page for images of the bash!
Mike Simi is an artist whose sculptures seem almost more like jokes than they do “art” (in a good way). Every one of them is funny, playful, and but also informed, like the products of an MFA student tired of everyone around taking art way too seriously, whose peers then applaud his efforts at subverting their academic approaches.
Barbara Wildernboar, a South African photographer and sculptor, creates a series of altered books that are visually reminiscent of organic, sea-like organisms. Some emulate the visually striking legs of a star fish, others are reminiscent of wild, but beautiful jellyfish- but most of her work imitate the very beginning of any type of live being, a very basic but important part of life as it is- the shape of an atom or a mitochondrion found in eukaryotic cells.
Wildernboar strictly uses books that she buys in flea markets while she’s abroad; usually, she uses books that are dated and redundant- however, there seems to be a pattern to the kind of books she picks- almost all, if not all, have to do with earth/physical science or biology. This specific detail could or could not be relevant, but the ways in which she shapes and manipulates the paper within the book tells us otherwise. She states the following about this speculation:
Although my work has strong ecological themes, I do not see myself as an activist for environmental change, nor is the body of work to be seen as a green campaign. It is rather a reflection on my personal response to climate and environmental issues that can often leave one feeling overwhelmed and distressed.
Colombian photographer Adriana Duque uses digital photography to illuminate bizarre narratives taken from myth and the fantastical. Combining both the context of Western lifestyle with that of the rural Colombian world, Duque explores the uncharted territory of her mind through carefully crafted scenes and settings. This series, Anthology of an Obsession, features highly polished photographs, nearly monochromatic, of children interacting with a world before the one we know.
As said within her artist statement:
“Duque treats her medium as a kind of mis en scene in which she projects her child-centered concerns, in an apparently static dramatization of actions in which a sense of astonishment and anxiety is present that also points out to a collision between the normal and paranormal. Some of her photographs build illusions of mythical proportions developed with an almost religious ritual sense; photography in this terrain is a kind of romantic gesture that directs the viewer towards a transcendental experience. In the fictional fairy tale references there lurks a disquieting subtext of sadistic overtones related to notions of childhood identity.” (Excerpt from Source)
Collage typeography illustration from Alexis Anne Mackenzie has an air of playfulness without being overly girly, or illustrated. She shows a beautiful balance between image and letter, with I’m sure a lot of painstaking thought put into each piece. Nicely done!