Currently residing in Brooklyn NY, Anthony Cudahy‘s brightly-coloured paintings depict portraits of faces abstracted and dissipated by the use of energetic brush strokes. The highly emotive work, primarily using gouache, seek to question constructs of identity through exploring moments of isolation and silence.
See more of his work after the jump, and head to his Tumblr for his breath-taking drawings.
American artist Anne Lemanski creates quirky, conceptual sculptures of animals. She begins by creating a copper rod amateur which she then cuts, manipulates, and braises together to create what she refers to as a three dimensional line drawing. She then uses various materials, such as prints created from images of her own collages, leather, and vinyl. These works act as a further adaptation of her collage practice. Her sculpture aesthetic roots from images she has been familiar with for years. As the Alumna Artist-In-Residence at the McColl Center for Arts + Innocation in Charlotte, North Carolina, Anne Lemanski developed her practice between both her collage and sculptural elements, leading her to create her newest exhibition, Simulacra. As the artist moved between techniques of meditative cutting and pasting to the physicality of creating a structure, she began to realize that ultimately, despite the difference in the materiality of the work, what was creating was the simulation of animals. By creating a falsified “double” of something that is in fact real. Lemanski allows herself to enter the postmodern discourse of the notion of “simulacra,” a concept associated with French philosopher Jean Baudrillard. Within the philosopher’s work Simulacra and Simulation (1981),Baudrillard argues that by creating “copies,” society has replaced all meaning with mere symbols. Thus, the human experience has become hyper-real, as all meaning is just a simulation of what once was. Lemanski notes that her own practice replicates the same notion, as she creates the simulacrum of nature. She allows two dimensional imaging to become three dimensional. This process allows the viewer to then experience the simulated, while channeling the real.
Inquietto (Oscar Marchal) is a art director and creative director, specialized in Motiongraphics with background in animation, (quite convincing) 3D graphics, illustration, graphic design, cinema, tv graphics and multimedia applications.
Léonard Condemine is a French mixed media artist who sculpts enigmatic masks and photographs them in haunting contexts. His work is influenced by occultism, mythology, and the tribal arts, representing the body in arcane relation with the earth; nude figures crouch by the fire, in the forest, and beneath starry skies. Decorated with paint, feathers, and mirror shards, the masks are stunning works of art that transform the subjects into mythic (or perhaps monstrous) beings. Impressively, none of his images have been digitally manipulated; the magic of his work arises from a brilliant synthesis of setting, costume, composition, and light, thereby transforming reality into the realm of dreams.
Condemine is interested in the dual forces of identity formation and identity loss. The masks, albeit on a human body, are extremely adept at obscuring the figures’ humanity; with their faces (and thus their emotions) inaccessible to the viewer, the figures become embodiments of mystical forces and the wilderness around them. This effect is so powerful, that when Condemine and his brothers posed for the final series of photos last November, not even their closest friends could identify them beneath their masks. This alienation from subjectivity is both unsettling and compelling, revealing identity as a construct, and also opening the images up to endless interpretation.
Learn more about Condemine and his work on his Tumblr and Instagram. More detailed images of the masks can be viewed on his blog.
Moritz Resl is a graphic designer based in Vienna, Austria. A smart designer with a minimalistic style, Moritz does not pollute his work with a number of narrative imagery all sharing one composition and message. Instead, he communicates the concept of his work by creating just a single, simple image. For instance, based on this year’s World Cup event, Moritz created a poster featuring an impression of a torch (edit: vuvuzela! Even better! Thanks for noticing the error guys) by combining various world continents together, all sitting in a sea of blue. Smart, well-articulated, and aesthetically sound.
Designer Matt Shlian, self described as a “paper engineer,” utilizes geometry, origami, and design to formulate and build beautiful 3D paper sculptures. His work combines a love for science and design to open a whole new realm of creating. Working with the US National Science Foundation, Shlian is researching how Japanese origami shapes can be used to benefit nanotechnology. In the past he has worked with clients such as Apple, Levi’s, and Facebook. Finding the harmony within these facets has produced a body of work that is breathtaking and enigmatic.
Shlian describes the process of working with the sciences and the steps they take,
“My team and I work closely together and although we donâ€™t always speak the same language, our work – the transformation of two-dimensional materials into three-dimensional forms – unites us.Â It is typically the case that we are not entirely certain about what it is we are looking for at the outset. On a recent occasion, one of the scientists told me that when we first met it was as though I had this big box of solutions and it was their job to figure out which questions were best solved with my work [three-dimensional origami]. I thought this was both an amiable compliment and a good way to describe the process.”
In many respects, the scientific community explores their mediums with a similar interest and intensity as artists explore theirs. As Shlian says,
“Real scientists are like real artists. They are always asking questions, always curious and always indiscriminate when seeking both solutions and good questions.” (Excerpt from Source)
Lutz Bacher‘s recent exhibition at San Francisco’s Ratio 3 included the series The Celestial Handbook: offset book pages taken from found copies of amateur astronomer Robert Burnham Jr.‘s 1966 handbook of the same title. Each page — there are 85 in the series — is individually framed, forever capturing timeless subjects in a dated format. What we see are images of things that surpass the power of imagery with captions that can’t help but fall short in describing things that surpass the power of language. (via)