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Gianna Commito’s Interiors Go Exterior

Gianna Commito’s paintings weave in and out, go inside and outside, appear minimal and expressionistic all at once. Much like the architecture that inspires them.

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The Otherworldly and Complex Paintings of Mario Martinez

Mario Martinez painting6Mario Martinez painting1Mario Martinez painting3The visions of Mario Martinez (also aptly known as MARS-1) seem to either be extraterrestrial or drug induced.  His large scale paintings hold to very realistic perspective.   However, there the realism breaks down.  Geometric shapes, organic like growths, and strange lighting effects intertwine to form one complex mass on his canvas.  Martinez’ work seems to depict something between living and synthetic, not quite landscapes or creatures.  Check out his website to seem some similarly styled sculptural work.

 

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Vintage Cutaway Illustrations Of Nuclear Reactors From Around The World

Crays-Malvile Super Phenix, France

Crays-Malvile Super Phenix, France

Grand Gulf, USA

Grand Gulf, USA

Douglas Point BWR/6, USA

Douglas Point BWR/6, USA

Guangdong, China

Guangdong, China

The University of New Mexico’s digital collections host an extensive archive of vintage cutaway illustrations of nuclear reactors from around the world. These illustrations first appeared in Nuclear Engineering International as inserts in the magazine from the 1950s to the 1990s, and were often on display in nuclear engineers’ offices.  Upon noticing the degradation of the illustrations over time, one engineer named Ron Knief decided to pursue the digitization of all 105 diagrams published by the magazine. The resolution of these images is incredibly sharp, and you can get a closer, more detailed look at the illustrations by visiting UNM’s archive, where you’ll also find many more colorful and thoughtfully designed posters that shed light on and satisfy some curiosity about these controversial energy reservoirs. (via gizmodo)

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Kurt Franz

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In 2007, Kurt Franz traveled on a bus across America and Western Europe studying city peripheries where construction and entropic sites become a common occurrence. Along the way he picked up enough materials to make some intriguing work.

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Daniel Turner

 

The Brooklyn-based multimedia artist Daniel Turner just finished a group show at Photo Epicenter in San Francisco.  Turner uses a number of nonconventional materials, including camphophenique, tar, vinyl, umbrellas, and life jackets and in so doing  questions fundamental ideas of beauty and utility. 

 

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Making War

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DIY Gallery is pleased to present Making War curated by Los Angeles based Cassandra Simon.

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Dan Witz’s Epic Paintings Take You Into The Heart Of Violent And Energetic Mosh Pits

Dan Witz - Oil and Digital Media on Canvas

Dan Witz - Oil and Digital Media on Canvas

Dan Witz - Oil and Digital Media on Canvas

Dan Witz - Oil and Digital Media on Canvas

Artist Dan Witz seamlessly combines traditional, academic realism with rebellious vibes of the underground punk scene to create his massive paintings of mosh pits. His impeccable technical skill allows him to paint photorealistic scenes that embody the pulse and energy of the punk music scene. Each painting is an energetic force to be reckoned that demands a serious presence. The amount of people crammed into each piece accurately captures the chaos and action involved in mosh pits in real life. Dan Witz’s work is packed full of incredible movement and human energy that can be felt in the viewer. Because in almost all of these paintings the image is completely devoid of an environment or setting, they have a deeply psychological affect. An excitement and anxiety is created as you see the range of expressions on each person’s face in the sea of bodies. As Witz fills each frame from right to left with herds of people, an unmistakable flow of powerful strength is formed.

Based in Brooklyn, Witz is a painter as well as a street artist. Spending time in punk clubs and playing in bands when he was younger influenced the subject in which he paints. However, we can also see the influence of classical painters due to his more traditional painting style. This type of hyper-real approach is often associated with a more academic way of thinking within the establishment. He is able to take this conventional method of painting and use it to rebel and revolt. Dan Witz’s Mosh Pits series has recently been featured in this past month’s issue of Juxtapoz. This quote from the interview explains the influence and effect punk rock has had on Dan Witz.

“Punk rock had opened my eyes enough for me to understand that art could be about more than providing expensive wall candy for rich people. I could actually speak truth to power…”

 

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Ollie Lucas’ Technicolor World Inspired By Graffiti, Glitch, And Design

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Melbourne-based artist Ollie Lucas creates works where colors swirl together with an almost preternatural smoothness, like oil diffusing in water, with more jagged and hard-line separation. Lucas says, My work has always had graphical and clean elements to it. A past life as a graphic designer is to blame there’. Creating works that span painting on enormous wooden spools, to digital works on print and more recent explorations in glitch animations, Lucas explains his influences, ‘Exposure to the graffiti scene in Melbourne has made me question harmony in my work, I have a love for filthy, dirty and weathered paint splattered surfaces, but at the same time I crave clean, modern, hardline geometrics…This is what drives my practice, combining two visual elements that are polar opposites in search for a harmony that i may never obtain.

Lucas work has often confronts two seemingly-opposing forces, graffiti and graphic design, painting and printmaking, natural landscapes with digital glitches, and blends them together. When asked how his work has changed leading up to his solo exhibition Digital Landscapes, at Pierre Peeters Gallery in Auckland, New Zealand, Lucas explains his more recent explorations and realizations in printmaking and digital creation. “It’s the first show I’ve done that is 100% digitally created. I’ve always used digital processes as a starting point in my work, however I felt a finished work needed the element of ‘hand-made’ to make it unique, to separate it from the mass produced. Since creating hundreds of drafts and moving through the paper choice/proofing and printing process I’ve come to realize a print can be just as unique as a painting.”

Though many see printmaking and painting differing in both result and creative impulse, the artist explains the harmony and connection between the two, giving value to both,“Although I have worked with many mediums in the past I still consider myself a painter, mainly because I still think like one and approach my work like a painter would. I think my work reads like a painting also.”

Ollie Lucas’ current exhibition, Digital Landscapes is on view at Pierre Peeters Gallery in Auckland, New Zealand, from now through March 5th, 2014.

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