Ray Young Chu makes beautifully detailed paintings that don’t take themselves too seriously. Cute animals and laughter are always a good mix in my book.
Who says street art has to be rough and tough? The good folks over at Eyebombing have made it their mission to spread the joyous and fun message of putting googly eyes on everyday objects and to bring smiles to random peoples faces. You can join their mission of laughter and joy by getting your own googly eye stickers and discovering the faces that start to emerge out of the mundane architecture that we pass by everyday.
Anna Garforth is a graphic designer and illustrator working from London. Her inspiration from the “plant life that pushes and grows its way through all the cracks in the concrete,” has led to some amazing works including plant life and moss.
I just about fainted when I got some behind-the-scenes studio pics back from Skinner, one of our featured artist from Book 3, including his van?! Holy triumphant-unicorn from hell-monster-mash-Crystal-stash-Wizard-spell lightening bolt riddled beast of awesomeness! His studio is like a headbanger’s ball, topped floor to ceiling with multi-sided-die, long lost relatives of Iron Maiden’s Eddie the Head, the occasional red plastic party cup, and treasures that seem to exceed a greedy dragon’s doubloon pile indeed.
I’m excited to check out the new works that will be up at San Francisco’s White Walls August 14th. In his words, the exhibition will include: “large old timey halloween mask replicas of my own design, 24 epic psychedelic fantasy paintings inspired by my own unhealthy feelings of global dread…one epic painting (a week for six months was the goal I set and im well under way and about to finish my 17th piece). And they are getting larger as well…” And a partridge in a pair tree. According to Merlin’s crystal ball, the future holds great things for Skinner indeed- we’re excited to see what he comes up with!
Yumi Okita uses her amazing artistic skills to create colorful and large sculptures of moths and butterflies, along with other insects. This North Carolina based artist uses various techniques in textiles and embroidery to form her soft and colorful creatures. Each insect is made up of an extremely eclectic group of materials including fabric, embroidery, feathers, fabric paint, cotton, fake fur, and wire. The amount of materials, time, and skill needed to create each piece is apparent as you examine each soft and stunning creation. Not only are Okita’s moths and butterflies brightly colored to perfection, but are also much larger than life! Including wingspan, many of them measure up to nearly twelve inches.
The color of the thread used in the embroidery involved in Okita’s process may or may not be true to nature, containing bright magentas, brilliant blues, and deep greens, but create extremely eye-catching pieces none-the-less. Entomology, the study of insects, has long been popular as many people collect and display butterfly and moth specimens. Okita uses this concept and takes it to a whole new level. Instead of being pinned in a display case under glass, her “specimens” of butterflies and moths are larger than life, inviting to be touched. These fun and remarkably crafted insects can be found on Yumi Okita’s etsy sight, where you can buy one of these gorgeous specimens for yourself! (via Booooom)
Dear Cult Of Decay,
For those of you who just joined the cult and those of you who haven’t seen us in a while, we wanted to give you a refresher and keep you in the loop on all the changes we made since 2009.
As you know Beautiful/Decay started as a magazine featuring art & design. We had a traditional advertising model like most other mags on the stands. After publishing a successful 26 issues (issues A-Z) we decided to shake things up in order to bring you a superior product.
Starting in 2009 we re-launched Beautiful/Decay to have all the benefits of traditional magazine subscribership, while taking the form of an expanded, limited edition, more voluminous publication.
In keeping with the spirit of our independent DIY philosophy, we decided to break the mold of traditional magazines and change the way we do business. In this economy, most publications are either going out of business or watering down their content to appease advertisers. Rather than conform to the publishing industry’s new rules, we’ve decided to create our own business model that allows us to flourish and increase the quality of our content.
One thing we’ve always disliked about the mainstream print industry is that it can be wasteful. Newsstands throw away all unsold magazines, averaging a 40-60% waste rate. In keeping with our commitment to staying green, Beautiful/Decay will instead send issues straight into the hands of subscribers, rather than dumpsters.
Here’s what the new B/D looks like:
• No traditional advertising
• 50% increase in page count, meaning 164 pages of pure, unfiltered content
• Features now have double the page space, with more full-color images & articles
• Articles now run 16-20 pages, providing some of the most in-depth coverage of emerging artists available today
• Released in limited edition format of only 1,500-2000 copies, each one hand numbered.
• Each issue comes with a limited edition collaborative artist project ranging from inserts, stickers, posters, to original artwork.
• Presented in new format & size, including French flaps and multiple printing processes within
• Released 3 times a year (once every 4 months)
We’re looking forward to 2011, where we’ll keep doing things our way, innovating indie publishing and bringing members of the cult the best of art and design.
Long live The Cult Of Decay!
Austrian artist Valentin Ruhry often plays with ideas of Minimalism and analog technologies, using light installations as a systematic approach which reveals a metaphor of interconnectedness, even when we do not see them present. In his 2013 exhibition Réclamer at Halle für Kunst & Medien in Graz, (then travelling to Österreich), Ruhry references advertising and promotional communication, using light boxes which generally house these messages. The exhibition’s title, Réclamer, comes from Latin and French, meaning to claim, to appeal, to call back. Ruhry, who was born in Graz, Austria and now lives and works in Vienna, used the empty light to represent a loss of function, “both through their components and in and of themselves.”
This type of installation investigates many of the themes present in Ruhry’s other works. When speaking with Jon Rathenberg’s Artist Interview Tumblr, Ruhry explains his fascination and his process, “I´m not a scientist nor have I ever been educated in mechanical engineering or whatever but I have always had a strong interest in technology. For me, a jet plane or a refrigerator is as fascinating and sometimes as miraculous as the power socket on your wall. Since I don’t understand much about the technical aspects of most of the equipment that surrounds me I study there aesthetic qualities. I try to highlight them by placing aesthetics or form before function.” (via likeafieldmouse and artistinterview)