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Jonathan Monaghan

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Macabre artist Jonathan Monaghan creates digital sculptures, prints, and animations that definitely puts us in a sense of discomfort. His clean, almost sterile use of style in detail, color, and light is both beautiful and extremely uncomfortable.

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Martin Eder’s Atmospheric Paintings Of Fearless And Melancholic Female Warriors

"Blut/Blood". Oil on canvas, 225 x 150 cm.

“Blut/Blood”. Oil on canvas, 225 x 150 cm.

"Inner Reality". Oil on canvas, 150 cm x 100 cm.

“Inner Reality”. Oil on canvas, 150 cm x 100 cm.

"How to Stand". Oil on canvas, 142 cm x 186 cm.

“How to Stand”. Oil on canvas, 142 cm x 186 cm.

"Behind the Curtain". Oil on canvas, 80 cm x 60 cm.

“Behind the Curtain”. Oil on canvas, 80 cm x 60 cm.

Martin Eder is German artist who paints atmospheric portraits, blurring the lines between reality and fantasy in a semi-surreal haze. His recent series involves figures of mythological repute, clad in armor and posing on the battlefield while the background boils with fire, smoke, and blood. Elsewhere, in more subdued scenes, his subjects recline in tender contemplation, or transform — with a silent violence — into a swan. Blending Botticelli-esque classicism with contemporary hyperrealism, Eder’s paintings defy categorization, appealing in their ambivalence to our fantasies through passionate stories radiating courage and melancholia.

Eder’s previous works are known for their flickering touches of eroticism blended with absurdity. Those who see his depictions of women as somewhat fetishized are not mistaken; experimenting with desire (and engaged criticisms) as affirmations of life, Eder asks us, in a rhetorical turn, “isn’t arousal, if it’s present at all, a rebellion against death?” (Source). In his bloodied and battle-wearied warrior portraits, however, Eder seems to be metaphorically driving at something else: a connection to the present, as the curator’s statement for Eder’s current exhibition at Galerie Eigen + Art suggests:

Women in armour, torn linen fabrics, armed with swords, traces of acts of war on their faces. The theme seems to be of a historical one, but is omnipresent: women of war in battle, in combat. Amongst the overflow of catastrophes, natural disasters and war images, emerge female figures as warriors that we repeatedly see, as soldiers, in the form of mothers who protect their children or their villages with weapons in the Middle East, or on another front on Maidan Square, equipped with improvised armour of street signs, gaffer tapes and plastic containers. (Source)

Eder’s exhibition, titled “Those Bloody Colours,” is showing at Eigen + Art in Berlin until May 23rd.  The title of the exhibition refers to a cry of war uttered in Shakespeare’s Henry VI, Part 3: “Let our bloody colours wave!/And either victory, or else a grave!” Offering yet another level of interpretation, Eder’s works remind us of the power of fantasies, as they can cover up (or romanticize) bloody histories and ongoing violences occurring beneath the “colours” of a flag.

Visit Eder’s website to see more of his art. In addition to oil paintings, he also works in watercolour, photography, and sculpture.

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Jeremy Kost’s Poloroid Photo-collages

Photographer Jeremy Kost isn’t ashamed of being under the influence of Warhol, a fellow Polaroider.  Like Andy Warhol, Kost’s subjects often embody contrasts.  His photographs are at once staged and candid, glamorous and gritty, confident and apprehensive.  Kost’s photo-collages  capture larger scenes by piecing together fragments of it – in a way a metaphor for Kost’s subjects, Warhol’s style, even post-modern identity.

Fittingly, Jeremy Kost explores lust in the ‘seven deadly sins’ themed Beautiful/Decay Book: 9 – check it out to see more work from Kost and other awesome artists.

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Awesome Video Of The Day:Peripetics

Zeitguised made Peripetics in six acts for the opening exhibition at the Zirkel Gallery. It entails six imaginations of disoriented systems that take a catastrophic turn, including the evolution of educational plant-body-machine models and liquid building materials.

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Cynthia Consentino’s Surreal Ceramics Mix And Match Heads, Torsos And Legs

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You won’t find cadavers or skeletal remains in ceramic artist Cynthia Consentino’s “Exquisite Corpse Series.” The project takes its name from the Parisian Surrealist parlor game, in which each player wrote a word or drew an image on a sheet of paper, folded the paper to conceal it, and passed it to the next player for his or her contribution. The results were wildly incongruous poems and images, gathered ideas from many minds.

In Consentino’s series, hers is the only mind at work, and the results are strangely charming and more than a little disturbing. The hybrid figures combine animal with human and the occasion household object. They play with the idea of gender stereotypes, something that began to interest the artist after reading a study where five-year-olds were asked to name a representational animal.

“The boys identified with animals that were predatory, and the girls with animals that were cute and cuddly. One girl even answered with a flower. I thought that there would also be girls who wanted to be tigers, but then I remembered loving playing a flower in a school play at that age. (Source)”

To loosen these gender constructs, she made varied heads, torsos, and legs then assembled them in ceramic sculptures of various configurations, some almost life-size. With their softly rounded limbs and pastel and pretty color palette they can seem almost sweet, but the fierce wolves heads and deadly weapons belie their innocence.

“My style seems a bit nostalgic, something from the fifties, or from folk art. It derives much of its character from children’s things: fairy tale, cartoons, dolls, games, as well as the domestic world. The work often incorporates imagery that is loaded with symbolism and history, such as flowers, animals and the ceramic figurine. It is very much about the familiar, things of our dreams, our stories, our childhood. (Source)”

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Michael Anderson’s Equal Opportunity Destroyer

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Michael Anderson has been busy, since the studio visit Beautiful/Decay did with him in August he’s prepared two major solo shows.  Anderson makes large-scale collages from street posters, sometimes measuring 12 feet across.  Anderson’s newest show promises to a be visually mesmerizing cultural stew of optimistic, reverse advertising, aka subvertising.  I talked with him about “She’s Okay,” the above collage, and he compared the golden lattice structure to the complexity of the girl’s thoughts and experiences.  The exhibition, Equal Opportunity Destroyer, is opening April 8th in Copenhagen Denmark at Gallery Poulsen.

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Bijan Berahimi

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Bijan Berahimi is a Los Angeles local designer, illustrator, publisher, and more. He has recently updated his website with fresh works from posters, to postcards; web sites to exhibits. His work is light-hearted and welcoming, full of color and suprises. Bijan also publishes an e-zine titled FISKa growing resource for designers – a platform for discussion & participation.

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Craig Redman

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A man of many talents, Craig Redman is a New York based illustrator, typographer, pattern artist, installation artist, sculptor, animator, designer, and art director. A list worthy of comparison would be his equally long list of well-known clients, such as, MTV, Louis Vuitton, Nike, Apple, Vogue, Converse, and The New York Times. And this may be overkill, but Craig not only has exhibited in various parts of the world, but he also exhibited at the Louvre, Paris (every artist’s dream!)

While we have many reasons to envy Craig Redman, we can also take solace in the fact that all of his accomplishments are well deserved. Craig’s diverse talents are immediately visible in his vibrant, smart, and secretly optimistic work.

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