Just like a modern day Wallace and Gromit, Stefano Colferai‘s clay creations are cute, light-hearted and can be enjoyed by adults and children alike. He spends many hours with his cutting board, modeling knife and colored clay. Carving out hamburgers, candies, tacos, chicken nibbles, sneakers, boobs and self portraits (all with big googly eyes), Colferai is no stranger to having a laugh to himself and indulging his own sense of humor.
These behind the scenes videos show us a candid insight to his process and creative practice. Creating different campaigns, posters and images for many clients, Colferai approaches them all in the same way. If he’s not enjoying himself, then the viewer won’t be either. About his Boob poster creation, he says:
As a big fan of boobs, I have tried to study their shapes, reproducing some of them in plasticine. I decided to play with the consistency, trying to emphasize the materiality. (Source)
Personifying objects and giving them some sense of life is Colferai’s specialty. Like all good animators he can convincingly tell us a narrative through an unexpected image. Like his ‘Shit Selfie’ – a humorous look at a modern day phenomena. His fresh take on different ideas is what makes him an exciting talent to watch. See more behind the scenes footage after the jump.
When it comes to graffiti the weirder the better and Austrian writer Nychos delivers on every front. From bold candy coated lettering that is slashed and dashed with spilling guts to heads splitting into a dozen pieces this talented writer does not disappoint. Check out a more murals by Nychos and a short video of his collaboration with Flying Fortress after the jump.
In the sculptural works of Jessica Lichtenstein, the idealized female form is presented in a highly, sexually, charged way. Appropriated from Japanese porno anime known as “Manga”, she reverses the original intent and renders a suggestive study of freedom and empowerment. In lighthearted narratives, her perfect muses flutter amongst a pile of designer bags, sip Starbucks, or work au naturel in the painting studio. These happy go lucky motifs were actually an escape for Lichtenstein’s own depression. Even though trained as an artist, she worked as a lawyer for many years. The daily grind got her down and she would escape through art projects. After creating her first successful exhibit featuring the girls, she listened to her inner voice, and quit law for good to pursue art full time. Not wanting to repeat herself, she decided to pursue another direction for her follow up. Instead of using dolls, she created pictorial likenesses of the girls which were scanned onto three dimensional word sculptures. These solid pieces constructed on aluminum and acrylic, depict scenes ranging from a war on words to sexual liberation. Technically hung on a wall, the different base materials give the pieces depth and become a solid looking glass into a host of childlike indulgences. Seasons, came next and stepped her into more introspective territory. The different times of year are portrayed through seasonal trees whose leaves are entirely composed of Manga figures. Its optical illusion triggers a highly emotional response from the viewer stemming from the clever placement of the artist’s nubile subjects.
Japanese designer and all around nice guy Susumu Fukuzaki just sent us a cool little book of us work that he calls his “new anthology” on his blog. Some fairly unusual work…I’m sort of at a loss as for any possible references to describe it. It sort of reminds me the kind of stuff the Church of the Subgenius or Negativland did in the 1990s.
“A meditation on green light – inspired by the dense horizon of lights found on the top of cityscapes. Specifically the red blinking lights for warning aircrafts which have always felt to me like some kind of living, breathing ecosystem. Continuing my fascination with geographies constructed or revealed by light during the night, I started thinking more about the “breathing” lights as rhythms.” – Gary Breslin
Juan Travieso‘s work is a sort of contemporary nature painting. His paintings of monkeys, bears, birds, seem to be falling apart into garbled digital information. Travieso appears to be capturing the animals a moment before they degenerate into unintelligible pixels of color. This could reflect an environment that is falling apart despite (or perhaps because of) constant technological progress. Travieso captures a sense of urgency in the paintings, an irretrievable moment soon to pass.
French artist Didier Massard’s photography had me perplexed until I looked more deeply into his process. Massard creates these amazing images by constructing a small detailed set design or dioramas and thoughtfully integrating lighting techniques. What strikes me most about these images is that they at first appear to be paintings or digitally rendered, but closer examination reveals layering and depth that is not possible to create digitally. I read how Massard uses manual techniques to create fabricated sets, but honestly could not believe the entirety of his process until viewing this short video, where he explains his work from his studio. In the video, he also explains how his work is inspired from real and imagined places, places he’d like to visit but realizes the limitations involved in this desire.The subjects of his work vary from nature to mythology to architecture, but all of them evoke a cinematic and magical realist quality.
Massard began working as a commercial photographer for fashion and cosmetic companies, but once he began this meticulously fabricated photography work, he decided to stay focused on this personal project. All of his work is drawn from his own imagination, and he calls each image “the completion of an inner imaginary journey.” Because of the highly skilled and detailed work that goes into each set design and diorama, Massard produces only a few images per year, spending months considering the manipulations for each image. For Massard, his work succeeds when it breaches a border of truth and lies, dream and reality. His work is currently on display at Julie Saul Gallery in New York City until October 19.
Within his series Cowboys, Italian born artist Stefano Galli captures the essence of the rodeo. When encountering Galli’s blurred displays of fast paced moments, at first glance, the images almost take on a painterly aesthetic. The blended earth tones enriched by small marks of what could be cadmium red mimic the sort of guttural intensity found in Abstract Expressionism. Yet, with further inspection, it becomes clear that these moments are, in fact, not abstract at all. Galli’s series displays a hyper specific sensibility of the rodeo — they go beyond what is physically there and take on the challenge to document both the visual and psychological affect the rodeo has on these cowboys. With a crowds of faceless faces, bucking broncos whose warped bodies begin to take the formation of something out of a Francis Bacon painting, and long, lingering lights that possess a cinematic feel, Galli is able to represent the true element of movement. His photographs are a clever answer to create a discourse on a challenging topic for a motionless medium: speed. But, more importantly, his images provoke not only a discourse on gesture, but also on control. What does it feel like to have control when all sense of homeostasis is disrupted? How does one remain in control? And further, through the distortion of the image, is Galli provoking the viewer to lose his or her control? Are we asked to let go of our need to make sense of what we’re seeing? Perhaps, for a moment, we should act on instinct. Delicate yet powerful, Stefano Galli truly exposes a contemporary visual thought process on an age-old tradition.