You may recognize photographer Jill Greenberg‘s series of upset (understatement for some…) children. If you haven’t seen her work before, you may notice the off-putting style through her contradicting use of detail microscopically real vs. the sense of waxy – plastic feel. This is because Jill Greenberg is that same photographer behind the advertisements of the TV showDexter. Check out her Fine Art photography, the ideas that inspire her, and the solution she comes to for translating the concepts are a real treat.
Mia Pearlman’s site specific cut paper installations are ephemeral drawings in both two and three dimensions that blur the line between actual, illusionistic, and imagined space. Sculptural and often glowing with natural or artificial light, these imaginary weather systems appear frozen in an ambiguous moment, bursting through walls and windows, or hovering within a room.
Pearlman’s process is very intuitive, based on spontaneous decisions made in the moment. She begins by making loose line drawings in india ink on large rolls of paper. Then selected areas are cut between the lines to make a new drawing in positive and negative space on the reverse. Created on site by trial and error, a 2-3 day dance with chance and control takes place during each and every installation. Existing only for the length of the installation, the weightless world totters on the brink of being and not being, continually in flux.
When artist Amanda Burnham first moved to Baltimore, Maryland, she didn’t know anyone. So, she spent a lot of time in her 7th floor apartment that had interesting views of the city. The time spent observing and recording her surroundings later informed her temporary, site-specific installations that are a patchwork representation of Baltimore. Burnham draws and paints street signs, fire hydrants, architecture, and store fronts, piecing them together in a manner that’s fractured yet cohesive. Taking elements of a neighborhood (or neighborhoods), she fashions her own view of the city, creating work large enough for a viewer to walk around and between. In an interview with Dwanye Butcher of Visual Baltimore, Burnham explains why she chooses to work this way (and why she reuses paper and boxes):
The idea of things being layered and pieced together is important to me. I see this city, and really all cities, as these giant ad-hoc organisms – collectively authored, chop-a-bloc, joints exposed – an ongoing melange of edits, adjustments, negotiations. I hope to suggest that with the deliberately collage-y, visually dense, maximalist aesthetic of my drawings. I also love paper and what it does when treated as an object – the shadows it casts, the way tears and cuts are line. Most of the paper I use is really cheap stuff – low grade drawing paper that comes in rolls, kraft paper, packing materials. Boxes. That’s important because I’m not rich, but also because I see it as conceptually significant – resourcefulness is an ethic I sometimes see evidenced in the forms of the city, and it’s one I really respond to.
Burnham not only takes the outdoors indoors, but creates a whole new environment in a matter of a few days to a week. Lighting, astro turf, and electrical tape craft an ambience that’s unique to the city.
Korehiko Hino’s paintings and drawings of bug-eyed figures remind me sci-fi movies where aliens come down and put humans under a trance right before they probe them. They are frozen in time, with no clues of whether they are about to die or if they are in an eternal state of euphoria.
Enrique Marty’s grotesque sculptures are three-dimensional portraits based on molds taken from real people. They are a new form of sculpture, based on a recombination of aspects of puppets and statues, and on a deep understanding of the meaning of Western figurative sculpture. Being theatrical objects and sculptures at the same time, they serve as tools with which the artist can control the psychology of the viewer, and structure a show.
Nicholas Bohac creates psychedelic collage landscapes that fuse fantasy with images of urban and bucolic spaces. These landscapes reveal both the natural environment as well as man made structures within those spaces. Bohac is concerned with our current ecological climate and while the role of urban spaces is not overtly problematic, the works represent the struggle of control between man and nature.
In his first eleven years of life, the Serbian artist Dušan Krtolica has already exhibited his drawings at two nation-wide solo shows. He began his drawing career at two-years-old, displaying an astounding visual ability; since then, the prodigy has focussed his efforts on depicting wildlife and natural worlds, both existing and extinct. As with the notebooks of Renaissance master Leonardo da Vinci, Krtolica’s pages are filled to their edges with rich anatomical and zoological studies. Though passionate about drawing, the fifth-grader hopes someday to pursue his passion for animals by becoming a zoologist.
Krtolica’s drawings magically marry a childlike sense of wonder with a more seasoned visual precision; though startlingly detailed and studiously seen, his work maintains a frenetic and unabashed curiosity. His ocean floors and vast jungles are seemingly blessed with creatures of different periods, as if more mature and evolved animals could intermingle with primordial beasts. The bodies of animals overlap in the midst of a wonderful chaos, and an armed knight is envisioned with the same degree of specificity as a tiny beetle.
Though powerfully scientific and unfalteringly observant, Krtolica’s images contain within their borders an ineffable quality of life and vitality, as seen through the rubbing of hybrid wings, the weaving of a spider web. The artist possesses both the awe-filled eye of a child and the technical ability to render his imaginings on paper, and that is a truly magical combination indeed. Take a look. (via Demilked)
At first glance, these creations might only look like small sculptures. But, they’re more than that. UK-based Conjurer’s Kitchen crafted these impressive pieces that are actually cakes. The yummy sponge cakes are shaped like surgeries, skulls, and cross-sectioned bodies. They’re bloody, decrepited, and deliciously disgusting. Conjurer’s Kitchen has expertly colored and painted the tiny details like veins on a skull
Annabel de Vetten is the woman behind these fantastic creations. Not surprisingly, she was trained as a sculptor and previously made a living as a painter. Her foyer into food art started when she made her own wedding cake. Now, she draws inspiration from horror films, alternative art, and more; she has a variety of clients. “It’s great! One day I’ll be working on a full-sized replica of the actor from the TV show Dexter for FOX, then I’ll be doing a wedding cake for a couple who runs an S&M business, and the next I’ll be doing a dragon for a wedding at Warwick Castle,” she says.