To call Clark Goolsby a multi-media artist almost seems like an understatement. Indeed, the sheer volume of materials and techniques he expertly employs is staggering, often combining spray paint, acrylics, pencil, wood, foam, plastic, string, and even audio into one finished product – but even that far from represents the impressive span of Goolsby’s “multi-ness.” He seamlessly transitions between different styles, from abstracted, multifaceted geometric forms to realistically rendered objects, crisp lines to more impressionistic strokes and drippings. As if that wasn’t enough, Goolsby tackles a seemingly endless mix of iconography, juxtaposing rainbows and antlers, inverted crosses and trophies, pyramids and statuesque faces. Oh, and by the way, it’s all in technicolor.
The result is just as overwhelming as you might imagine, and that’s exactly the point. Goolsby’s work parallels the milieu of stimuli we are constantly barraged with every day of our lives – a combination, he suggests, which poses a persistent, sometimes surprising threat to our survival. Goolsby’s most recent solo exhibition, Strange/Love at POVevolving Gallery in Los Angeles, focuses on “how we maintain optimism in a world that is so full of potentially life ending situations.” At the center of this exhibition, an 18 foot long skeletal form made of wood and foam entitled “Dead Man” lies horizontally, suspended from the ceiling by hundreds of neon-colored threads. Goolsby’s work reminds us that, even if we are all essentially dead men grasping onto life by the threads, at least those threads are bright, illustrating a sense of playful joie de vivre which urges us to live larger than life, finding beauty in the unrelenting stream of chaos while we still can.
This is a really awesome new window display at Maison Hermès in Japan. The installation/window display was done by designer Tokujin Yoshioka, featuring a set of Hermès scarfs and video installation. Although the design and concept is simple, it’s a very cool and dynamic installation. Check it out!
Shintaro Ohata’s painting slash sculptures are beautifully finished glimpses into another world. The artist, born in Hiroshima, Japan, creates paintings that are accompanied by three-dimensional sculpture. Both the painting and the sculpture are so perfectly rendered that they seamlessly intermingle with one another. Ohanta’s painting abilities incorporate light, mood and subject impeccably. The effect is a snapshot out of a narrative where each figure is the heroine of her own story. A girl perched on a ledge blowing bubbles, the girl dancing through a nighttime urban scene, or my favorite, the girl walking amongst puddles that reflect the sky, looking up, which happens to be out at the viewer; each of these scenes has a unique story that feels very sweet, compelling and endearing.
There is a theme of solitude to Ohanta’s work. His subjects, usually young girls, are generally depicted alone, or in such a way that they seem alone, often in urban environments where there should be other people around. The paintings, however, are not lonely. Rather the subjects feel like they are lost in their own world, seeing, thinking and feeling things that we as viewers can only conjecture about.
‘You can’t be a feminist and like pink’. Society has a harsh way of making us feel completely out of line and out of context. Based on which criteria? Drumrolls… No one knows. That’s how the anonymous writer of the Ambivalently Yours blog started out. Tired of having to be labeled feminist or fashion girl when she actually wanted to be both, she decided to embrace her contradictions first by leaving notes anonymously in public places (supermarket, airport shuttle, bank machine), then by blogging and finally by drawing. She actually sends illustrations when she replies back to her readers. She uses pastel colors and a humorous tone that speak of the serious subject of finding oneself and accepting to being caught in the middle of two extreme identities.
She is basically saying outloud what a lot of girls and women are thinking and feeling. But who is she? She is a she, that’s all we know. No name, age, eye or hair color. She can be anyone, and that’s the beauty of it. She says the readers ask her questions with no interest in knowing more about details. It’s all about exchanging ideas, celebrating contradictions, confessing emotions, hi-lighting imperfections and being there for each other when no one else understands.
Recently, because being a “boldly undecided girl” is not enough, she decided to set herself a two dimensional challenge. During a 91 day residency at the CCA residency in Glasgow, UK she will answer over 300 emails by drawing back illustrations. The underlying challenge being to deal with uncut isolation and everything that goes with it: solitude, mistakes and meltdowns. The results are predicted to be brilliant as some of them can already be seen on her instagram account. (via Dazed Digital)
Artist Daniel Palacios‘ sculpture nearly seems alive. A length of rope is attached at to a machine at each end and spun. The spinning rope creates waves against a black backdrop, which are also audible as the rope cuts through the air. Visitors entering the gallery and their movement then influence the rope’s wave. The more a visitor moves in front of the installation, the more chaotic the wave pattern. It’s interesting to note a visitors surprise or sudden discomfort upon realizing their influence on the wave. The sculpture not only reveals a viewers impact on sonic surroundings, but also concretely presents also seems to eerily acknowledge each viewers existence in space and movement.
Danielle DeFoe, young photographer based in Los Angeles, adores mask fashion and semi awkward teens. I like the sometimes I-don’t-give-a-fuck attitude in her photos. She also wrote us a nice postcard with the printed version of the image above which I scanned and is after the jump. It’s a great idea- the photo kind of says to me “I’m coming to get you, watch out you’re going to enjoy it”.
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.