In the endless patterns of mandalas, one can find tranquility through its sacred geometry. You can find this peace in the spiraling colors of the mandalas artist Alison Moyna Greene creates. However, things are not always what they seem in her work. What is mesmerizing and calm at first glance is actually rough and defensive up close. The artist constructs her mandalas with individual cactus spines that jut out of the surface at the viewer. The process of using such a harmful medium by hand does not only take an intense focus, but also can be physically harmful. However, this meditative process of picking this material, painting them individually, and placing them onto their surface is a practice of care and love. Greene takes something painful and turns it into beauty.
The incredibly metaphor for transformation and healing is realized through this intricate series. The artist explains that her work acknowledges the coexistence of light and darkness and explores the balance of both necessary elements. The mandala is a traditional symbol of harmony. In this harmony, we find brilliant colors and winding patterns. However, we also find sharp, unsafe objects that make up this symbol. This contrast makes Greene’s work even more beautiful as she finds comfort in the amazing transformation of suffering into serenity.
This series of artwork uses thorns and cactus spines as a metaphor of changing pain and suffering. The process of hand plucking, hand painting and hand placing speaks about the transformation of pain into beauty and fear into love.
Artist Daniaelle Simonsen plays with a unique process; this Los Angeles local combines her love of sewing and drawing with the ephemeral material of the magazine to create unique works, delicate yet fierce, that exist as individual art pieces and as usable art. You can also catch up with Daniaelle’s latest news via her blog.
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A giant red ball has traveled the globe for the past 13 years. Aptly called the RedBall Project, it’s stopped in cities from Paris to Perth and is currently stationed in Rennes, France at the historic Place de la Mairie. It’s there from July 3rd to July 9th as part of the Les Tombées de la Nuit Arts Festival.
The larger-than-life inflatable sphere is currently squeezed into the Opéra de Rennes’ narrow archways and begs for the passersby to interact with it; at 250 pounds and 15 feet tall, it’s hard to miss. Reminiscent of a child’s toy on steroids, it adds a sense of playfulness to the landscape as it’s photographed, touched, and even bounced into.
The creator, Kurt Perschke, explains the idea behind his sculpture:
The urban environment is overbuilt and full of possibilities, and the project is about seeing the sculptural spaces of a city. The humor and charisma of the piece allow it access to the city and invites others into its story. I think it’s essential for public work to do more than be “outdoors” – it needs to live in the public’s imagination. (Via designboom)
I’ve always been interested in the creative energy that comes out of Australia and Nick Thompson’s work is just another reason to love the land down under. His work is clean, bold, and full of impact. Watch the video for the image above and see a fantastic selection of his creative output after the jump!
Finnish illustrator Konsta Ojala‘s new drawings are large and frightening. Seriously, nearly measuring at five feet on each side, Ojala works the aesthetic of disturbed (and perhaps drug induced) doodles expanded to obsessive sizes. His drawings often feature familiar cartoon characters taken to their logical misanthropic conclusion. From a syringe-clutching Mickey Mouse to a bleary-eyed and violent Bart Simpson the characters seem to be reappearing after spending a few years on the streets. Rendered in harsh black and white and imposing sizes, the drawings are unsettling while still strangely nostalgic.
What gave you the idea or inspired you to shoot this series?
‘I’ll got the idea by playing around with my little son and his soap bubbles. They disappeared so fast and I got curious about the funny forms and the rainbow colors on their surfaces. So I wanted to capture them and take a closer look.’
This week, The Shooting Gallery in San Francisco debuted “Ritual,” a solo exhibit by painter Charmaine Olivia. For “Ritual,” Olivia shrouds her signature female portraits with a veil of mysticism and magic, citing astrology, druidism, and the goddesses of ancient Greek mythology as inspirations. The beautifully haunting, almost spectral quality of Olivia’s female subjects is a result of her signature blend of realism and fantasy. While maintaining intensely realistic elements, many of the women are stripped down to their innermost layers, and further, into the paintings themselves, as translucent skin drips into bare bones, and tousled tresses fade into abstracted lines, revealing the grain of the wood surface beneath. “Ritual” presents these portraits as altars, flanked with offerings of flowers, candles, bones, and bottles, transforming the gallery into a place of worship, inviting us all to partake in a sacred ceremony to Olivia’s dreamy deities. View the show at The Shooting Gallery until February 4.