Monica Rohan paints realistic self-portraits where she is covered, buried, and engulfed in fabric. Although we see the artist portrayed in many different setting in her paintings, we can never see her face. Each of her subjects, all being representations of herself, hide their face in the mass of textiles. Rohan beautifully depicts different types of fabric, vivid in color and pattern. She is a master at bringing to life vibrant hues on different thread. Sometimes, there is no fabric in her paintings, but instead a sheet of grass or a plethora of flowers that stretch over the figure. Each sheet or quilt wraps around the figures, surrounding them as it moves across the composition. Although Rohan’s work appears lighthearted and playful at first, with frolicking and mischievous women, there is a level of anxiety present in her work. Each figures seems to be frantically attempting to hide their identity, almost desperately trying to hide. Mountains of patched fabric and colorful silk are swallowing up the artist’s likeness, sometimes consuming two figures at a time.
Monica Rohan, originally from Australia, is inspired by her upbringing in the remote countryside of Queensland. A sense of isolation can be felt in her paintings, as the only person present in her work is the artist herself. You can feel the artist’s emotions about to burst out of the many folds of the fabric as they create a powerful vortex of movement around her own self. (via Hi-Fructose)
Julia Fullerton-Batten’s models seem naked in their nudity, and this is not just a clever play on words. John Berger, in his book Ways of Seeing, explains the difference: “Nakedness reveals itself. Nudity is placed on display. The nude is condemned to never being naked. Nudity is a form of dress.”
Here, in Fullerton-Batten’s Unadorned series, each model is indeed nude, as Berger suggests, posed on display, manipulated by the photographer to convey an idea, however . . . because he or she wears a certain type of nudity in the vein of old world masters from the 15th – 17th centuries . . . and because they are arranged in contemporary settings by female hands . . . and because their bodies are curvy and soft, as opposed to thin and hard . . . what results is also a fascinating feeling of nakedness: a complex historical/sociological revelation of us as a species in relation to gender, weight, and image.
The art of cross-stitching is no longer reserved for floral patterns and butterflies. In a curious combination of erotica and a (usually) conservative medium, Brisbane-based artist Leah Emery has embroidered a series of pornographic images. The project began when Emery discovered explicit pictures that had missed the spam filters on her work computer. Imbued with mischief and a good sense of humor, Emery decided to learn how to cross-stitch while putting the images to use. In the above video, Emery discusses her content and “research”:
“[My porn scenes depict] human beings in the throes of carnality, which isn’t always attractive from the outside — it can sometimes be quite confronting and twisted and sweaty and hairy. And I really enjoy depicting those real moments. And doing the research is sitting on the computer looking through porn files on porn sites, which is a kind of funny career aspiration.”
Some of the images are hard to immediately discern — you might notice the gorgeous stitch work and colors before your eyes adjust to what they actually depict. Among masses of blurry skin and spread legs are a variety of sexual acts, from penetration, to threesomes, to voyeurism, to headstand cunnilingus. Somehow, the pixelated “censorship” makes the images more provocative, giving us a decent idea of what’s going on without the full visual satisfaction of high-definition.
Humor and eroticism aside, Emery’s artistic goal with her cross-stitch porn is to initiate conversation and sex positivity. She concludes the video with the following statement:
“It’s not the intention to shock. I just like the idea of contributing to a healthy sexual debate, which I don’t think we have a lot of in the media these days. I think we could all have a much healthier understanding and approach to topics of a sexual nature if we talk about it a little bit more.”
It’s time for our weekly exclusive artist feature in partnership with premiere website builder Made With Color. Each week we join forces to bring you some of the most exciting artists and designers working today who use Made With Color to build their clean and sleek websites. Made With Color is a website builder that helps artists create gorgeous mobile/tablet optimized websites in only a few minutes without having to touch a line of code.This week we are happy to share the work and website of Tanya Batura.
Los Angeles artist Tanya Batura is known for her delightfully grotesque busts that reference a wide array of subject matter such as BDSM, fashion, serial killers, human deformities and classical 15th Century sculpture. Working in ceramics, a medium that has both its detractors and supporters, Batura’s large-scale heads defy even their own materiality, transforming the often staid and predictable parameters of the medium toward a more cohesive and deliberately forceful sensibility.
Batura’s work is at once monumental and delicate, geometric and languorously sensual in their fluidity, starkly devoid of color yet strangely shadowed from within. Pushing both material and content, Batura’s agenda is clearly less about pleasing any perceived “viewer,” and much more about complete absorption into her own process.
An exclusive interview with Tanya Batura is available in Beautiful/Decay Issue:V available on the B/D SHOP.
Born in Tokyo and living in NYC since 1996, well known as founding member of art collective FAILE. In 2006 she started her solo career and has been exhibiting her stencil/silk screen paintings in major cities such as NY, LA, London, Berlin, Tokyo and Barcelona.