The artwork of Audrey Kawasaki is completely irresistible in its portrayal of stunning technique and beautiful women. Her skilled illustration using ink, oil paint, and graphite is a sharp contrast to the natural grain of the wood panel in which she paints on. The warmth of the wood combined with the reds and oranges found in her work create a soft glow that radiates from her work. Each of her women contains an iridescent aura that invites you in, pulling you closer into the frame. There is an unmistakable seductiveness in their eyes, or in one case, the third eye, that is both intriguing and mysterious. As you examine Kawasaki’s work, something begins to feel peculiar. The beauty of her women blinds us before a strange, bizarre element creeps up on us. We slowly realize something is off, when we see things like pink, glowing rabbits circling around the figures or even a snake skeleton sprouting out of the roots of a woman’s hair.
Kawasaki flawlessly offers us women of quiet beauty that leaves us questioning each situation. She pulls her inspiration for her gorgeous paintings from both the distinct style of Manga comics and the swirling, elegance of Art Noveau. The enormously talented artist will have work up at a group show starting this June on the 26th at the Long Beach Museum of Art. Her work is included in the exhibition, Vitality and Verve: Transforming the Urban Landscape.
We featured the illustrations of Australian artist Tom Littleson (aka, Dilly) in 2011, and he is also one of the artists featured in Beautiful/Decay’s Book 9, which examines the seven deadly sins through the lens of contemporary art. Dilly’s illustrations fall into the “Wrath” category, but there are many more incredible artists to explore in Book 9, including Jeremy Kost’s sexually-charged and explorative Polaroids (Lust), and Libby Black’s colorful paper sculptures of coveted, material possessions (Envy). For centuries, the seven sins have influenced the Western imagination in discerning “good” behavior from “bad” impulses, and Book 9 gives you the exclusive opportunity to see how groundbreaking artists are navigating these distinctions in the present-day world.
Dilly’s illustrations are a drastic combination of immaculate detail and excessive rage. In a series titled The Mind’s Apocalypse, Dilly has drawn the hyper-realistic portraits of various men, capturing everything from their individual hairs to wrinkles and beard scruff. The contemplative beauty of these pieces, however, is shattered by the grotesque, self-mutilating acts the men are engaged in; with expressions of passion and madness, they tear open their own skin, self-cannibalize, and anoint themselves in blood. Some of them are screaming in what could be pain or rage. The greyscale faces with bright red gore are brutally beautiful, and despite their stomach-turning intensity, it is hard to look away.
Limited copies of Book 9 are still available on the B/D shop. Click here to grab yours before they are gone for good.
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)
Ebony G. Patterson constructs immense and elaborate installations filled with everything you can think of. The artist creates intricate work both attractive and kitschy, using mannequins, sunglasses, beads, beer bottles, and lots of gaudy jewelry. Interested in mixed media tapestries, video, and photography, she often incorporates one or all of these different techniques into her work, creating a complexity of objects and imagery. Exploring racial and gender politics, she uses photographs, mannequins, and clothing to make reference to ‘popular black’ culture in her art. Her work, so filled with patterns and flashy objects, is highly satirical, commenting on race, questioning stereotypes often associated with the culture she is representing. Concepts on beauty are also questioned, as the figures in her work are adorned with jewelry, bright colors, and flashy clothing. Although the mannequins appear to be making an attempt to look attractive, they inevitably look over-the-top and ridiculous.
When you see Patterson’s installations, there is an overwhelming sense of color and pattern inviting you to examine every last detail of the chaotic mass of objects. You get lost in a see of mismatched clothing and clashing patterns, all shown like a department store display. Transforming her mannequins into striking objects participating in her art, their individual genders are often blurred, pointing out pre-conceived notions concerning the masculine and feminine. Her installations not only have mannequins, but also still humans that appear to be inanimate until they spring to life, turning her installation into a performance piece. This talented Chicago-based artist creates confrontational work that, due to content and appearance, is not easily ignored
Belgium designer Bram Vanhaeren recently challenged himself to create a typography treatment everyday. How long will this project go on for is not clear but Bram’s goal is to make interesting quotes fun to read and remember. Not only has Bram been cranking out the designs on the daily but he has employed high-end printing services to make the prints available to you all!
Miao Chunxiao’s new media work employs the latest three-dimensional computer technology to create montage images and virtual realities that interpret historic artworks, especially classic paintings before and after the Renaissance.
A stunning collision of tactile, CMYK color, the work of London’s Evelin Kasikov lies squarely between object and image—a seamless combination of craft and design. After spending a decade working in advertising, Kasikov decided to expand her scope as a graphic designer by incorporating embroidery techniques into her work. Her approach to the craft is analytical, using her well-developed typographic skill set, grid systems, design techniques to challenge the preconceptions of embroidery as a system of making. Kasikov’s basic process is to map out the composition for each project, then she hand-stitches each image with a cyan-magenta-yellow-kohl breakdown, similar to offset printing processes. The resulting work is graphically rich, and brings an element of handwork back into the graphic design process—something that adds a layer of complexity and humanity to work that would otherwise be purely computer-generated.
Artist Daniel Palacios‘ sculpture nearly seems alive. A length of rope is attached at to a machine at each end and spun. The spinning rope creates waves against a black backdrop, which are also audible as the rope cuts through the air. Visitors entering the gallery and their movement then influence the rope’s wave. The more a visitor moves in front of the installation, the more chaotic the wave pattern. It’s interesting to note a visitors surprise or sudden discomfort upon realizing their influence on the wave. The sculpture not only reveals a viewers impact on sonic surroundings, but also concretely presents also seems to eerily acknowledge each viewers existence in space and movement.