The work of Italian artist Alessandro Rabatti humorously comments on the current economic state that the world is in. Using different currencies from around the world, Rabatti rearranges and alters the faces of each political icon and transforms them into a comic book hero. By rearranging and breaking down household faces such as Abraham Lincoln and Queen Elizabeth II, the artist deconstructs their economic status. Each important leader’s status has been elevated from historical legend to fictional superhero, as if their alter egos are really Spiderman, Ironman, and Catwoman. The interesting part about this transformation is that some of these heroes and villains are more recognizable to people than the historical figures themselves.
This series, titled Facebank, comically comments on our economic state and the actual worth of money today. We trust in these icons just as children trust Captain America and the other courageous characters. In creating this series, Rabatti aims to spark a dialogue concerning the current, unstable state of world economics. Another interesting element in the artist’s work is that each face is now wearing a mask. The mask is often associated with hiding one’s identity or giving a false appearance; pretending to be something you are not. This is no doubt another layer in Rabatti’s series, commenting on political figures and their place in society. The artist’s funny and clever artwork combines comic book superheroes, economics, and political satire to create this multifaceted series. (via Design Boom)
The installations, sculptures and street art, of Jakub Geltner is subtle, disconcerting, and very in-sync with the Zeitgeist and hot topic of the moment. The Prague-based artist installs groups, or rather – herds – of security cameras, satellite dishes, and surveillance equipment in different outdoor settings. Drawing attention to the presence of being watched and filmed in some way or another, the groups of equipment is very creepy.
Geltner places the gear in absurd places – screens are tilted to look directly at a brick wall, or to spy on a moss covered rock at the beach. Satellite dishes are clumped together on the side of a church – obviously not much use for anything and cleverly parodies the aesthetic of so many apartment blocks littered with the dishes in our modern day, technology-obsessed cities. The artist explains a bit more about his work:
My project is simply called “Nests” and mimics the random human activity in the urban landscape. I was inspired by the characteristics of several cities on my travels around the world where I often found different unplanned, almost organically placed, elements that interfere with the typical facades of the buildings in specific cities.
Through this project I wanted to point out the extent of these “infections” to show how disruptively absurd as well as interesting the urban space can become. I have been working on these nests since 2011, when I set up the first “Nest 01″ in the city center of Prague. I installed it directly on the waterfront of the Vltava river while I was still studying at the Academy of Fine Arts in Prague. (Source)
So maybe next time you are walking on the street around your city, remember to look up and check out just what, where and how many technological ‘infections’ there are around you…..they may just spread their disease to you…. (Via Bored Panda)
Melvin Galapon’s digital aesthetic has been adapted and applied to an extremely diverse range of projects. yet his strong ability within his medium and highly creative compositions remain a constant. His thought-provoking, visually pleasing take on the search for warmth in a cold, modern existence is equally impacting in his high-profile illustration and design work as it is in a more intimate format, like a small-scale installation piece.
Iva Gueorguieva, currently a Lux Art Institute resident, is a Bulgarian-born artist that paintings are incredibly filled with energy portrayed with color, composition and expressionist brushstrokes. The dreamlike abstract landscapes are highly energized by the amazing intensity in colors and the layers create such dynamic organic like environments, they can’t help but captivate the viewers attention with the exuberant hues and dizzy brushstrokes.
Do you know thousands of artists and designers who need to get some well deserved exposure? Do love writing about art and want an outlet? Do you want over a million monthly readers from around the world reading and hanging on your every word? Do you want to join Beautiful/Decay in our quest for all things groundbreaking and creative? If so then send a few short writing samples (or links) as well as a cover letter about why you want to join the Beautiful/Decay blog contributor team to contactbd(at)beautifuldecay.com.
We are looking for smart writers in all corners of the globe who have their fingers on the pulse of the contemporary art and design world and want to join our independent group of writers and art enthusiasts.
Writers must be able to commit to a minimum of five 300 word posts per week. This is a paid part-time freelance position.
Kevin Dowd creates photo collages that examine the familiar in surreal environments. An amusement park ride is suspended in mid-air; the lonely peak of a roller coaster ride frames a mysterious moon. His artwork resonates with emotional meaning, evoking feelings of uncertainty and isolation. By using the totems of our childhood — brightly colored balloons, swings, and theme park rides — Dowd also calls up a sense of unsettling nostalgia.
This is no coincidence. One of his collections is called Technostalgia: a pair of balloons tethered to a telephone pole, at odds with a wisp of cloud in the background that could either be coming or going. The artist’s intent is to examine “the nature of communication, the analogous methods of wired transmission, sound and even thought.”
Dowd is a thoughtful artist who has grand metaphorical meanings behind his work. Field Day: Ascent, the collage of children on swings rising into the sky, is meant to “capture sensations of awe and beauty, while recognizing the tentative nature of such experiences.” The photos of the roller coaster, named Babel I and Babel II, “explore the hubris of man.”
Whether or not the viewers grasp those exact interpretations, though, Dowd’s work still stirs up feelings of traveling to times and places long gone. (h/t I Need a Guide)