Brecht Evens is a Brussels, Belgium based cartoonist and illustrator. He creates expressive comics that take you on a mystical adventure through a wonderland of seemingly normal places. As garden utopias manifest out of the back rooms of nightclubs and bars- a myriad of personal intimacies are revealed from behind the closed doors of apartment flats and town houses. His paintings and comics leave you with a resonating feeling comparable to having a near perfect night out in your favorite city.
Los Angeles’ Laura Taylor excels at taking beguiling photos that quietly demand your attention. Lending her talents to an exciting storytelling project called The Smartest Thing She’s Ever Said, Taylor’s mystique draws you in slowly but surely. You end up a little lost in her world, in the best of ways. Here, we talk to Laura about her approach to photography and end up with a craving for cake.
English photographer Carl Warner creates realistic landscapes that are made out of food. As an experienced landscape photographer, Warner puts his talents to work in order to reinvent the conventional type. The ‘Foodscapes’ are created in Carl’s London studio where he crafts out each and every little detail (all components completely made out of food) through intricate and laborious steps. The scenes are photographed in layers from foreground to background. The food products used tend to wither quite quickly under the beaming lights, this might take each landscape even more time to get finished.
He first starts off with a set of drawings; he lines up the model-drawings that he would like to work with, and from those he picks the one that will be worked on.
Warner has a team of food stylists and other artists that help him with the process.
“ Although I’m very hands on with my work, I do use model makers and food stylists to help me create the sets. I tend to start with a drawing which I sketch out in order to get the composition worked out, this acts as a blue print for the team to work to.”
Korean artist Chun Kwang Young began sculpting when he came to New York as a means to processing what he witnessed as a materialistic society ceaselessly searching for “more.” Using newspapers, which he folds into small prisms, these sculptures form as a compilation of our verbal recording of history, opinion, and discovery. Figuratively, the sculptures emerge like topographical maps of rocky landscapes, or planetary surfaces. Points and crags describing a rocky terrain that is nearly unnavigable. Metaphorically, this work is a culmination of the floating lexicon of our time; the ongoing conversation of man compiled in a three dimensional format, echoing the voices that pass each day through our print media. Each figure is a time capsule of pieced data and voice. Although the sculptures themselves are mute, each has a strong story to tell. As Young describes his work:
“Every piece of information is the end product of a struggle for hegemony, as well as an accumulation of human experience. One hypothesis ceaselessly conflicts with another, and finally becomes a new knowledge. While these kinds of processes are sometimes made in a peaceful way through debates and publications, they sometimes happen in the shape of physical conflicts like wars led by the governing class.”
His work is a symbolic expression of how words form into actions and become words again- a speech becomes a call to action, which becomes a war, which is then recounted through story. Everything seamless weaves into itself, a cyclical timeline we hardly noticed as we are so permanently bound to it. (Excerpt from Source)
Just because everyone and their mother is doing graffiti and “street art” these days -rendering the talent pool watered down and chunky like a hasty batch of kool-aid, doesn’t mean the form has reached its peak and the guys who actually know what they’re doing should hang up the gloves. James Reka, of Melbourne, Australia, knows what he’s doing. Reka just killed a solo show at Backwoods Gallery in Melbourne, and released “Pissing in the Wind”, a book of risograph prints documenting the life and times of the Aussie artist. Hope to see him in the ‘States soon.
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!