We at Beautiful/Decay don’t usually post about our own work but we thought that our readers would enjoy this short documentary about Beautiful/Decay founder and artist Amir H. Fallah. Documentarian Edward Symes traces the origins of B/D from zine to magazine and also gives you a glimpse into Fallah’s studio and new series of works. You can also read a short interview with Fallah on Symes’ Frontrunner Magazine.
The work of Laurent Craste lies at the crossroads of two mediums. It participates in the world of visual arts, but never crosses its borders. This is explore in his use of ceramics. The form, linked by tradition to crafts, requires a technical knowledge and know-how so restrictive that artists are prompted to remain within canonical forms, never pushing their limits. In this series of ceramic sculptures, Craste has used porcelain vases, representative of certain upper class tastes, and laid into them with a variety of blunt objects, essentially critiquing the fusty conservatism of both this group and the medium itself.
Almost a year ago, David Abir installed a sculpture in the LA Mart’s basement that forever rattled my experience on Earth. And now, after some time has passed, he has constructed several more structures that have only gone on to further enhance the feeling I grasped onto when I initially saw them. Sadly, it’s pretty much impossible to photograph the pieces correctly, since part of their mystique is the low ambient light surrounding the room. And when the flash goes off on your camera, you’re basically voiding yourself the enjoyment of seeing the greatest magic trick performed correctly.
When photographer Klaus Pichler was moving out of his old apartment in Vienna, he noticed something peculiar about the dust on the floor. In the living room, dust bunnies were red while the mitesin his bedroom were light blue. This led to something of an epiphany for Pichler, and he realized that dust isn’t always gray like we so often see – there are varieties. Inspired by that experience, the photographer started a years-long series that chronicles the accumulation of different dust particles. Aptly titled Dust, it recently culminated into a book of the same name.
Pinchler’s dust gathering was similar to collecting specimens to study. He retrieved them with tweezers, placed each in their own Petri dish, numbered, and inventoried them. Photographing the dust proved trickier, and it required Pinchler renting an expensive 120mm macro lense and capturing them all within 24 hours. They were left unaltered and their tiny, exquisite beauty shines in these up-close images.
From police stations to subway stations and pet stores, each gathering of dust has its own idiosyncrasies. The pet shop, for instance, has tiny, brightly-colored feathers and wood chips for the animals. There’s less hair in it than the police station, which has threads, metal, and leaves swirling around in a matted ball.
Australian born, Tokyo based illustrator Antisant has a nice collection of drawings on his sites of people vomiting various patterns,worms, and other gross yet beautifully patterned stuff. If pattern vomit isn’t enough to get you over to his site there’s also some cool typographic treatments for the design nerds and customized kicks for the sneaker heads.
C. Owen Lavoie’s (better know as C. Owen) series of photographs entitled Trophies captures the emergence of exotic creatures out of darkness. Because they are shrouded in so much darkness, these portraits at first seem to be taken in close proximity to live animals, but Lavoie is able to get so close to these beasts because they are taxidermied. This creates a haunting and mysterious effect that reflects on ideas about preservation, death, and hunting. The lens captures the preserved expressions of the creatures’ vulnerability, creating a sort of double preservation of the dead animal that stares right back at us. Lavoie says that she considers the series “a way of bringing the animals back to life for the public eye. It’s sort of like a third generation; first the animal was born, then hunted and handed over to a taxidermist so it can be displayed and finally in the end, modified by my lens.”
“Official Music Videos” are usually lame but this hilarious video for the movie “Take Me Home Tonight” is 3:57 minutes of fun that doesn’t take itself too seriously. Enjoy the full video after the jump!
Japanese photographer Daisuke Takakura creates a carousal of interactive humans. Double your pleasure. Double your fun. His pieces challenge you to focus and rest your amygdala—puzzling you with more questions than answers; energizing your eyeballs to pounce in all directions. His reproduction of clones create a maze-like quest in his photography.
The duplicated self is positioned in a variety of stances; each with their own agenda. Whether a day in the office, playtime in the city, resting on dinosaurs or in a female basketball court frenzy—the multiplication of bodies in these settings create an unbalanced curiosity in trying to interpret what each person is doing. Repeating the “self” into many selves provides more than one imagination to be analyzed or identified with.
In one of his monodramatic photos, women are seen running from a building covered in scarlet red, which appears to be blood down the front of their dresses. In the background, other women rest at the building entrance parading sea foam green umbrellas over their heads.