Continuing today’s incidental perversion theme: An Art Service is a graphic design and Art Direction Company located in New York City, working mostly with artists (hence the name) in publications, branding and identity, and web design. Their work for Daddy magazine (published by Peres Projects) includes a puzzle on the front cover as well SPECIAL TEEN STICKERS. I really like how it’s photographed on quintessential pedophile plaid. Mmm mm mm.
Thomas Poulsom of Bristol, UK has a really nice flickr account full of creative creations using legos. The legos almost lend a really cool, pixelated quality to the 3-dimensional, playful works. Probably the best of the bunch are his series of birds. He’s done birds native to Britain and a tropical bird series as well. I think the reason why these come off so well is how life-like they are. Definitely not you average plastic bird. (via)
Scottist sculptor David Mach has a penchant for unexpected materials: magazines, matchsticks, and scrabble pieces, to name a few. In his series “Coathangers,” the artist constructs lifelike animals from wire hangers, allowing the pointed metal hooks to extend past the boundaries of the figure. To build these strange cacti-like creatures, Mach works from a plastic mold, applies the hangers, and coats the finished product in nickel.
Mach’s wild beasts, depicted with near realism, look magnificently aggressive when protruding hooked metal. Like defensive porcupines, the seem to be coated in a layer of quills, warding off the touch of curious viewers. The tiger, the stag, and the gorilla each occupies a distinct role in the hierarchy of the natural world; their predator limbs frozen outstretched or fearful mouths held open, they cannot help but resemble the taxidermied animals that roam the halls of natural history museums. Unlike those passive creatures, however, Mach’s animal kingdom is electrified with the addition shining, threatening spokes, eliciting trepidation as much as they do curiosity. Similarly, the artist’s crucifixion presents Jesus Christ as an explosive, angry being, emitting in his pain an agonized cry; here, we might imagine the biblical lines, “My God, why hast though forsaken me?”
Mach’s coat hanger method allows for the rules of sculpture to be broken; his figures are defined not by their enclosed form but also by material that emanates from their bodies as we understand them. Like characters on a static-filled television, they appear as illusions or mirages. Their blurry boundaries allow them to exist in a mysterious space beyond the corporeal. Are these creatures inhabiting the space before us, or are they merely projections, subject to vanishing at any moment? (via Visual News)
Jerome Abramovitch has incredible attention to detail: the digital manipulation of his photos is nearly seamless. In his “Mannequin” series, he took photos of both live models and plastic mannequins before digitally meshing them together to form amazingly real-looking human-plastic hybrids. More and more, photographers are finding their creative voices in post production – so exciting!
Channeling the ghost of Jackson Pollock’s organically composed (not composted!) abstractions, French artist Frédéric Delangle creates densley layered abstract photographs of the insides of compost bins. Part hippie chic and part ab-ex, Delangle’s images take the eco-friendly and the familiar and transform it into piles of abstract goodness!
In a darkly poetic new video titled “Quand c’est?” (When it is), singer and songwriter Paul Van Haver (aka, Stromae) sings a chilling address to cancer. The video, shot all in black and white, depicts Stromae performing for an audience of animated alien limbs and nettle-like growths—a creative portrayal of the disease. His words are emotional, bold, and honest:
“Oh yes, we know each other well
You even tried to get my mother
Starting with her breasts
And my father’s lungs
D’you remember then?”
As the video proceeds, Stromae dances across stage, moving in the same strange, articulated fashion as the disease that seeks to devour him. As the music builds, his graceful movements unravel into desperation as one of the limbs seizes him while another—approaching unseen from the back—strikes him dead. The remainder of the video spirals into a fervor, depicting his ghost being his cast into a black pit festooned with the bodies of countless others.
Stromae is known for his videos that touch upon topics of an important nature; the award-winning song “Papaoutai,” for example, explores the experience of growing up without a father. “Quand c’est?” (which is also a homophone for the French pronunciation of “cancer”) explores the trauma of the disease from both an intimate and universal perspective; the majority of us have been touched by cancer in some way, as is expressed by the network of bodies trapped in the alien nest. Weaving together vocals, dance, and animation, Stromae’s haunting performance is an expressive embodiment of human pain and perseverance.
I love these installations by New York based artist Heide Fasnacht. Fasacht captures the beauty in catastrophe with her intricate, freeze-frame sculptures. They’re so detailed that I think I must be looking at a movie still, rather than something three-dimensional, something I can hold in my hands.
Argentinian artist Pablo Boffelli visualizes a mysterious world deep into the depths of a modern technology age concerning amusing future civilizations through a humanistic combination of drawing and collage. Atypical colors layer on top of various textures and mediums in an abstract yet sensible way; drawing forth an inspection toward themes and ideas that aren’t usually explored.