British artist Rebecca Glover works in several mediums, but it’s her installations that are especially striking. The three installations pictured here – Space Invader, Flat 51, and The Inhabitant – invades the insides of an apartment and galleries. The calming, almost mesmerizing, color of the spikes clash against the installation’s overall sinister nature. She describes the installation in interview:
“I had an idea to create a sculpture that broke through the space and played with this idea that there’s something latent in the walls; playing around with what lies beyond what you can see.” [via]
The second series of photos are taken from the Market Estate Project in which seventy-five artists worked with residents to install art in a soon to be demolished housing estate in London. The work and apartment buildings were destroyed the very next day following the art’s installation.
Evan DeSpelder’s paintings are an exploration of the formal and conceptual possibilities of the digitally mediated painting.Using painting as a vehicle to fundamentally question the way our realities are constructed, Evan’s work is an expression of modern ambivalence, a representation of the world in which we live, where truth and the human mind are malleable, manipulated, and history is leveled by an unprecedented access to information.
Photographer Thomas Jackson captures every day objects traveling in packs. His series Emergent Behavior features plastic cups, leaves, sticky notes, gathering into swarms. These mundane objects fly through city streets and forests, mostly whimsical but at times menacing. They reference self-organizing systems often found in nature such as herding, swarms, insect mounds, and so on. Regarding this Jackson says:
“The images attempt to tap into the fear and fascination that those phenomena tend to evoke, while creating an uneasy interplay between the natural and the manufactured and the real and the imaginary”. (via)
Winter is coming! Well, not so much in Los Angeles (although it did get down into the 40s last week), but across the country it seems to be looking a lot like Christmas. One of any creative-minded individual’s favorite winter pastimes is making snowmen. The four artists listed below take the art form to another level, incorporating the usually ephemeral figures into their art oeuvre in unique and intriguing ways.
Tony Tasset’s snowmen are partly funny, partly sad and partly just amazing sculptures. Made from glass, resin, brass, enamel paint, poly-styrene, stainless steel and bronze the snow replicas are surprisingly convincing. Catching a viewer off guard in a gallery setting, the snowmen freeze (pun intended) in time a phenomenon that is never the same—unlike in real life, Tasset’s snow personalities might last forever.
Kristina Solomoukha lives and works in Paris, France. Her process is a reflection on urban space. She pulls from codes and vocabulary from urban environments, combining them with her personal ideological view to create individual works and installations. Playing with words and the absurd, her works, such as Discobaba, magnify and exaggerate existing aberrations.
Identified as a Young British Artist, Gary Hume, now 51, creates his snowmen images and sculptures by reducing them to their simplest forms. Stacked spheres, the shapes are mere implications of a snowman, allowing a viewer’s mind to complete the association. Titling the series “Back of a Snowman,” Hume’s works take on a melancholic mood. We suddenly picture the snowman contemplating his own mortality, which in turn, might make us reflect upon our own.
Described as a pseudo Pop artist Todd Hebert’s meditative paintings apply airbrushed acrylic and super-realistic renderings to common holiday imagery. The effects are narrative in a way that allows a viewer to be reflective about life at the various points of the year marked by the holidays.
In the endless patterns of mandalas, one can find tranquility through its sacred geometry. You can find this peace in the spiraling colors of the mandalas artist Alison Moyna Greene creates. However, things are not always what they seem in her work. What is mesmerizing and calm at first glance is actually rough and defensive up close. The artist constructs her mandalas with individual cactus spines that jut out of the surface at the viewer. The process of using such a harmful medium by hand does not only take an intense focus, but also can be physically harmful. However, this meditative process of picking this material, painting them individually, and placing them onto their surface is a practice of care and love. Greene takes something painful and turns it into beauty.
The incredibly metaphor for transformation and healing is realized through this intricate series. The artist explains that her work acknowledges the coexistence of light and darkness and explores the balance of both necessary elements. The mandala is a traditional symbol of harmony. In this harmony, we find brilliant colors and winding patterns. However, we also find sharp, unsafe objects that make up this symbol. This contrast makes Greene’s work even more beautiful as she finds comfort in the amazing transformation of suffering into serenity.
This series of artwork uses thorns and cactus spines as a metaphor of changing pain and suffering. The process of hand plucking, hand painting and hand placing speaks about the transformation of pain into beauty and fear into love.
Gianna Commito makes paintings that feel almost sign-like – like a road sign warning you that the road has erupted and time is about to stop. The watercolor and gouache, or w.color and casein paintings don’t let you through the rabbit’s hole too quickly, but when given consideration they transform into tumultuous, imploding space scapes with virtuoso shifts in direction and scale. Using architectural source imagery allows the abstract paintings to have oddly real looking color and light shifts. In an interview Gianna compared the space in her paintings to origami or the inside of a tent. More paintings and a studio shot after the jump…