We’re eagerly waiting the release of Zach Snyder’s MAN OF STEEL. After loving his take on the WATCHMEN and being blown away by the epic cinematography of 300, this version of Super Man promises to be equally grandiose. After watching the trailer Snyder’s take on the MAN OF STEEL feels darker, gritty and more natural than its predecessors. In WATCHMEN Snyder showed us the dark side of super heroes and how they reveled in their flawed humanity. Snyder seems to be sending Clark Kent down a lonely road where he’ll wrestle with who he is and his home on Earth. We’re all ready for the sweeping camera shots, flying scenes and all around badassery that this MAN OF STEEL has to offer. I think this is the vision of Super Man we’ve been waiting for. Fingers crossed! MAN OF STEEL is out June 14th 2013. Get ready.
Leif Huron incredibly captures his subjects in awesome vibrancy and beautiful tonality. Huron’s photographs are incredibly detailed and are a treat to the eyes; especially the portrait series. Done in high key, the color contrast of white skin and background to rich colored hair and strikingly deep colored eyes makes for one hell of an image.
Jennifer Ziliotto is a Los Angeles based photographer (and happens to be a good friend and bandmate of mine!) One of my favorite shots is the David Lynch-ian inspired portrait, above, of Zachary James. I love its flickering, dramatic spot- lighting, its textural qualities; the soft focus, played against the cool, hard steel of the sword, the interplay of velvet on velvet, and its stunning jewel-tone palette – a beauty! Could almost be an out take of a surreal performance from Mulholland Drive or an unexpected hallway in Twin Peak’s black lodge. If her stunning, surreal photography that fuses psychedelia with glamour isn’t enough, she’s also an amazing make-up artist, having worked with the likes of Kat von D and Full Metal Jackie of Indie 103.1 fame.
Gotta love it – posted via UK based designer Graham Smith – thanks Graham!
Chinese artist Ann Hoi creates beautifully bizarre paper figurative sculptures. Usually depicting images of children and fantastical animal creatures within an air of melancholia, her work simultaneously achieves an essence of preciousness and unsettlement. Since graduating from Ontario College of Art and Design University in 2010, Hoi has only crafted around a dozen pieces; each work is made through a long meticulous process. Her sculptures are created with a method that begins with the extremely clever use of a 3D animation software that allows her to develop, edit, and manipulate her characters digitally. She then prints her designs onto paper and has to build her works essentially through a version of intense puzzle piecing. Their monochromatic and literal xerox copied aesthetic allows them to almost exist as a physical representation of a digital hologram. They create a real virtual reality. They seem to exist on a strange border of futuristic and nostalgic — their “digital” quality allows them to be referential of that of a technological manifestation and therefore science fiction, however, the graphics, again, the monochrome palette, as well as the sort of “glitch” like feel, makes them seem like they are that of an old technology, a reminiscent one. Hoi’s work is undoubtedly unique. Each piece has the true ability to draw the viewer into a world that they have yet to experience. However, despite how removed from reality these works are, they some how do not feel out of place. It almost feels voyeuristic, as if the viewer is the one that doesn’t belong. (via Hi-Frustose)
British artist Anthony McCall (born 1946) has a cross-disciplinary practice in which film, sculpture, installation, drawing and performance overlap. McCall was a key figure in the avant-garde London Film-makers Co-operative in the 1970s and his earliest films are documents of outdoor performances that were notable for their minimal use of the elements, most notably fire. After moving to New York in 1973, McCall continued his fire performances and developed his ‘solid light’ film series, conceiving the now-legendary Line Describing a Cone (watch a video of a gallery-goer’s interaction with it), in 1973. These works are simple projections that strikingly emphasise the sculptural qualities of a beam of light. If you want to know more about the light magician, you can read an interview with Anthony by the writers at BOMB Magazine.
Sheena Matheiken decided to start The Uniform Project in May 2009 by pledging to wear the same uniform dress for the next 365 days. She has 7 identical dresses, 1 for each day of the week, and the only thing that will change are her vintage, hand-made, or second-hand accessories and how far her creativity will take each outfit.
The Uniform Project is aimed at raising money for the Akanksha Foundation, a movement that hopes to change the lives of many children in India with the gift of education. As someone who was raised in India and had no choice but to wear uniforms to school, Sheena Matheiken has now chosen to rewind to the days of uniforms for a good cause.
As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Marci Washington. See the full studio visit and interview with Marci and other West Coast artists at www.inthemake.com.
We visited Marci in her backyard studio in Berkeley. It sits just behind her home, a kind of garage/storage space that got converted into a cottage. It’s comfortable and functional, with an open feel to it. Marci is full of gusto— she talks with her hands, takes on all kinds of facial expressions, and she’s funny as hell. She enthusiastically moved through our conversations, at turns awkward and eloquent, but always unguarded and real. We talked about a lot of things, but her affinity for the landscape of the English moorlands, particularly within the context of Romantic Literature, really struck me. Those rolling, uncultivated hills covered in low-growing grass, shrouded under heavy fog and moody skies have wholly captured Marci’s imagination. And it makes sense that they have— much of what interests Marci is mirrored in that rugged, desolate scenery. In various Romantic and Gothic works of literature, the moorlands often represent mystery, mysticism, liberation, turmoil, and passion; they frequently echo the psychological state of the characters, and reveal their greatest desires and fears. Marci’s current work references not just the physical landscape of the moors, but also speaks to themes found in a lot of this kind of literature, and the universal emotions that are evoked—all those feelings and ideas that run wild with mystery, awe, darkness, terror and beauty. I think Marci is after a particular kind of mood that toes the line between terrifying and thrilling, creating a response that’s simultaneously overwhelming and invigorating. All of this plays into her sensibilities as an artist, but also as a person: her love of Edward Gorey and his eerie illustrated books, her unflinching need to feel everything very deeply, her leanings towards the bizarre and unique, and her fondness for the not-entirely-explained. It’s pretty damn amazing that come November Marci will be showing work in England, not far from the wild and lonely moors that have taken up so much of her imagination.