Bill McRight, of Philly powerhouse Space 1026, employs gnarly printmaking skills in the creation of images not confined to a place in time. In McRight’s work, Garish figures sans-pupils populate a stark environment of violence, movement, and open mouths containing sharp teeth. But it all looks so good that the reaction of the viewer is inclined toward pleasure rather than pain.
VIEW / SOURCE presents two conflicting projects that deal with the phenomenon of “source code” hidden within our everyday experiences. Friedland’s work explores the integration of cross-lateral human understandings, while Manos’ systems aim to speculate their irrelevance. Two B/D featured artists will be presenting work at Think Tank Gallery in downtown LA this thursday! Aurelia Friedland (B/D feature), and Matt Manos (Book 1, Future Perfect, and B/D feature).
Opening: 12/08/11, 7-11 PM
By Appointment through 12/17/11
Stefan G. Bucher is a graphic designer, illustrator, author, creator of monsters, and pursuer of obsessions. The (sole) creative force behind 344, his clients have included art galleries, film directors, magazines, record companies, Saks Fifth Avenue and the Blue Man Group. If you’ve seen the Yeti themed Saks Christmas windows, you’ve seen Stefan’s work. The Daily Monster is his, too. The cover of The Matrix soundtrack; typography for Mirror, Mirror; Blue Man Theater. All Stefan G. Bucher.
Aside from his amazing and prodigious creative skills, Stefan is an astute observer of culture and a consistently funny writer. He agreed to be interviewed for Beautiful/Decay.
B/D: Thanks for talking with me, Stefan—I’m just going to jump right in. What’s the most interesting thing you’re working on right now?
Stefan Bucher: It’s my pleasure. The most interesting project I’m working on right now is the pitch for an animated show surrounding the Daily Monsters. It’s a long process of uncertain outcome, but it involves a lot of things I love—illustration, working with a brilliant writer and a genius animation producer, thinking about music and character design. It’s great! I’m also working on a solo gallery show for the spring. That’s just a big beast breathing down my neck. I don’t know how much of it will be retrospective and how much will be new work. I just want it to be a fun trip for the audience.
Here at Beautiful/Decay, we receive lots of fun stuff in the mail. Yesterday we got a package of Hello Kitty Jelly Beans made by Jelly Belly! For some time, Hello Kitty as been the subject to much speculation. I mean Hello Kitty stands for nothing, but people adore it because it’s cute (and thanks to hundreds of famous icons and the media for embracing it). Hello Kitty is a full phenomenon that starts with it’s simplicity of design. Yuko Shimizu’s design has a mouth-less face that people can use to project their feelings to define Hello Kitty’s character. This depicts entirely different feelings for each consumer. It’s a win, win. So who wouldn’t want to collaborate with that cute little kitty?
Photographer Alan Sailer fills your standard Christmas ornaments with all sorts of things like glitter, gelatin, food dye, and many other strange things that would never find their way into your standard ornament. He then shoots them with a pellet rifle against brilliantly colored backdrops and documents the entire process in detail capturing the millisecond explosions in all their glory. The result is a festive explosion of color and texture celebrating the season of giving in an a very unusual and imaginative way.
“While producing these new works I was trying to bring together many of the themes, materials, and issues which have been running through my work for the last years. Primarily the works ‘en masse’ deal with our place as individuals within society, with the sometimes disempowering aspect of our contemporary overload, and the romantic fading memory of a simplified world view in which one’s sense of place was denoted by boundaries of personal vision and physicality, a memory which is now transformed into an endless web of connections and information, most of which, though highly omnipresent and totally accessible, leaves us as spectators rather than participators in what we are able to know.
Photographer Ramona Zordini creates images that tastefully and powerfully channel sexuality and eroticism between lovers and oneself. Zordini is interested in both showcasing pairs of naked bodies floating on murky water as they interact with one another and portraits of single bodies as they emerge from whitish liquids. Although Zordini’s sensual photography carries an undeniable sexual energy, they embody an aesthetic that resembles organic textures and lines, as well as a concepts (of love, sex and self-discovery) that are poignant and relatable.
In her recent series, Changing Time III, Zordini creates images of posing nude couples in a variety of positions that imply imitate moments. A man wraps his arms around a woman who curls up, head down, under water. In another photograph, a man with an undercut wraps his arms around his nude partner who faces upwards and appears to be pushing against a confining force. Their legs intertwine and one feels their desperation, their need to cling and hold on to one another. The aesthetic and composition of Changing Time IIIrepresent a clear development from the Italian artist’s previous engagement with the human form as beauty and sculpture, into a more nuanced interest in the body as communication.
Zordini’s earlier works, on the other hand, feature single bodies and complex colors and compositions; these are more intriguing and less straightforward that the couple shots. In many of these photographs, a single female twists and contorts her body to reveal a breast, hand, or leg above the obscuring smoky surface. (via Hi-Fructose)
Follow this explorer into an unknown world that is new but somehow familiar. By Malcolm Sutherland.