I gotta admit that I was really excited to see Died Young Stayed Pretty, a new full length documentary focusing on the DIY rock poster (see gigposters.com) movement that has brewing in the US and beyond for the the last decade. The doc has hundreds of interviews with big names (many of whom you’ve never heard of) within the close knit rock poster scene,who discuss personal taste, poster philosophies, and what role money,drugs, and 70’s&80’s porn plays in rock posters. Many of the artists interviewed are amazingly talented (i.e. Tyler Stout & Brian Chippendale) and interesting, sharing with the viewer a small glimpse of their creative process.
You’ve probably seen the work of Berlin/Vancouver based collective eBoy (or that of someone biting their aesthetic) at some point. Svend Smital, Steffen Sauerteig, and Kai Vermehr make up the core of the group, and they’ve created their very own world full of pixelated characters and environments through years of illustration, design, and animation work. The eBoy vision is pretty much fully realized, now everyone gets to enjoy taking part in it. The pattern design above is particularly amazing.
Want to see more by eBoy? Check out our exclusive feature on them as well as the cover art they created specially for us in Beautiful/Decay Issue:G
Carpenter, furniture designer and innovator Gavin Munro is heading a project called Full Grown that is achieving incredible things. He and his team have an ambitious and revolutionary idea of growing trees around frames and supports that will shape them into chairs, tables, mirror frames, and light shades. The process takes a few years, but ultimately saves on labor and time when it comes to chopping, harvesting, sanding, polishing and finishing the furniture.
The idea for Full Grown started when, as a young boy, Munro saw an overgrown bonsai tree that looked remarkably like a chair. In a strange twist of fate, he then needed a back brace to help straighten his spine. With the time to mull over a few things, he put these different experiences together with his expertise in furniture making to try something new.
It’s where I learnt patience. There were long periods of staying still, plenty of time to observe what was going on and reflect. It was only after doing this project for a few years a friend pointed out that I must know exactly what it’s like to be shaped and grafted on a similar time scale. (Source)
So treating wood the same way his own bones were treated, he experimented with growing different prototypes. After a couple of attempts with willow trees, Munro now has almost 3,000 trees growing into furniture on 2.5 acres. The first pieces will be ready in Spring 2016 and you can pre order different pieces here. Obviously, each piece is unique and unrepeatable, all marked and with a Certificate of Provenance. Ultimately Munro hopes to achieve a new understanding of wood and it’s brilliance.
I hope that our work highlights what it takes to make the objects we surround ourselves with, and that no one looks at trees in quite the the same way again. (Source)
(Via The Creator’s Project)
Jarmila Mitríková and Dávid Demjanovič are a fascinating artistic duo adding spice back into a traditional form of art-making. They hail from Slovakia and employ a technique called pyrography, which involves burning into plywood and shading the images with wood stains. This particular way of mark making was popular with people mostly during socialism in former Czechoslovakia. A style with is linked with folk art, domestic crafts and cultural traditions, the pair tap into their own history and national identity.
In their hybrid style you can see christian traditions, folklorism, pagan rituals, superstitions, myths, local legends with links to WWII and socialistic history, all with the backround of real slovak scenery. (Source)
Mitríková and Demjanovič play to their strengths of storytelling and creating very strong, personal images. We see very graphic scenes being played out – hunting rituals, exorcisms of some type, sacrificial set ups, and masked people involved in cult-like activities. With titles like Guardians of National Spirituality, Procession With Nazi, Cult of Goddess Morena, Dance Plague and Evacuation of Slovakian Elites, they focus on a time of secret societies and unknown mysterious behavior; they speak of a time when not everything was understandable, or explainable.
Typical for their practise is working with mystification and creating thematic series, where they focus their attention on one subject from our present or history….. when they work with real slovak subjects, using their style of storytelling, they create absurd, comic situations and new contextual reading. (Source)
This talented couple manage to recreate a sense of wonder, secrecy, ambiguity and riddles. They put a contemporary spin on an ancient art of wood burning and telling campfire-stories.
Alex Lukas‘ Recent Works show at Steven Zevitas Gallery (April 19th-June 2nd 2012) in Boston consists of five new large-scale paintings on paper (the largest measures at twelve feet in length) and a group of work utilizing appropriated book pages. This body of work continues the Lukas’ exploration of our current cultural condition through the lens of the landscape. Executed primarily in ink, acrylic, watercolor and gouache, the artist also uses the process of silk-screening for certain elements of each work.
Thomas Cole’s well-known painting “River in the Catskills,” which depicts a pastoral landscape with a small train slicing through the scene in the middle ground, is a harbinger of things to come in the story of man’s attempt to gain control of nature. In many ways, Lukas’ landscapes, which combine sites real and imagined – with a healthy nod towards Hollywood and art history – tell the end of the story, as man-made structures yield back to nature. The works pivot on series of dichotomies: violence and quietude; the man made and the natural; hope and a profound sense of despair. They also grapple with ideas about national morality and societal fragility.
Jason Redwood creates transmogrophic kalleidoscopic explosions of pop culture saturated lucid dreams. With a background in illustration and design, many of his images embody a vibrant, hard-edge pop aesthetic that could almost be digitally generated. In fact- Redwood sites the visual vernacular of advertising, web, television, billboards–the current day image glut–as being woven into his insane tapestries. Childhood memories, strange visions, and humor also play off each other in hypersectra, hypersaturated colors, into a “beautifully perverse mega-meal,” as Redwood describes them. His works are visual feasts of fancy, intensely seductive eye-candy that, if they were allowed to flash and vibrate on a moving screen, would probably induce seizures–but in a transcendant, ecstatic way.
Artist Anna Barlow creates a kind of dessert that you would never want to eat –ice cream made out of ceramic! Although her work contains the same rich, juicy colors irresistibly drippings as ice cream does; the substance is not actually melting at all. It is constructed with ceramic and porcelain entirely by hand. She not only molds clay into scoops of this dairy treat, but also little cherries, candy hearts, ice cream cones, and even the occasional pillow being engulfed by the seeping dessert. Even more interesting, the artist also makes ceramic shoes that appear to be comprised of ice cream and flavored syrups swirling around the heel.
Barlow’s incredible skill in sculpting these delicious desserts combines with her perfect sense of color and glazing to create a finished piece that looks good enough to eat. The artist explains that she finds beauty in the drips of oozing ice cream and is fascinated by its natural transformation in shape due to its current state. It may be fluid with colors blending together on a hot day, or frozen into perfect form. The malleable nature of the substance is somewhat similar to clay. It can be manipulated and molded to a certain extent, but, unlike ice cream, clay can be fired into ceramic in order for it to hold a permanent shape. She unites ceramic and porcelain in order to achieve the right texture and coloring to portray these desserts.
“…the dry translucency of high fired porcelain suits the biscuit texture of wafers and ice cream cones, while the colourful liquidity of a silky opaque earthenware glaze is used to capture the quality of dripping ice cream.”
– Anna Barlow