Greg Lundgren of Lundgren Monuments is an artist in bringing light and color to the one situation where the dress code is all black. Lundgren, who is a Seattle artist and entrepreneur, has built a business that has people seeing the final resting place in a whole new light.
Starting with the thought that there should always be beauty with the burial, Lundgren challenged conventional notions of fixed, grey headstones once he began to create his own. Working with bronze, steel, granite and cast glass, Lundgren designs personalized headstones and urns that will best communicate the light and energy of the departed. Often done through a collaborative planning process with the family of the deceased, what emerges from his designs are stunning, illustrious sculptures that capture and emulate the warmth and respect felt toward the lost loved one.
As said on their website:
“Cemeteries are not known for their colorful sculptures. Typically they are monochromatic landscapes – variations of grey and black and other stone types. There is no burst of color, no spectrum of light or illuminating sense of life. And this seems grossly out of character to represent the diverse, colorful and individuality of the people cemeteries honor and represent.
Even in the depths of grief and loss, a little color – a little rainbow, can help us remember the magic that is life and the good times that our loved ones experienced, lived and continue to fuel. Even in the darkest hour, it is important to remember that the people we have lost were vibrant, illuminating, and entirely one of a kind. That is the kind of memorial Lundgren Monuments wants to create, and we are very honored and proud to help contribute to this memory, this reminder, this alternative to the cemetery landscape.”
Who wouldn’t want to be buried beneath something so beautiful? (Excerpt from Source)
“Choi Xooang is an artist who sculpts concrete bodies. This may sound somewhat banal at first, but we come to be surprised at his ability to grasp the world pathologically. Choi’s understanding of the world began with his 10-20 cm miniature figures displayed at this first solo show. These miniature figures, suffering from an expansive delusion, do not realize their relative diminutiveness, and tend to overstate their ability and situation. They have a bloated musculature, partly enlarged bodies in macho-like gestures suited for revealing such megalomaniacal symptoms. Their effort to emphasize their existence through bragging and exaggerated gestures at times seems pompous, but they are too diminutive to impact the world, despite their attempts.
Choi’s concern with society’s pathological state later moved to an interest in vegetative states those making utmost efforts in living everyday life undergo. A person in a vegetative state cannot perceive or affect his surroundings at all due to serious brain damage, although he looks like he’s breathing, laughing, weeping, and awakening himself. Choi likens an individual’s mental state intimidated by an unidentified force, to a person in a vegetative powerless state. The artist’s perception of this state is confirmed in the work titled Vegetative State displayed at his second solo show. A bare tree grows from the head of a vulnerable man who has fallen down. This work, depicting a man changing into a vegetative state, like Daphne who transformed into a laurel, appears realistic and elaborate in its finishing, through its amazing figurative imagery and the meaning of the title.”-Ki Hye-kyung, Curator of National Museum of Contemporary Art, Korea
Swedish artist Johan Andersson creates hyperrealistic oil paintings that depict subjects who are socially vulnerable, be it politically, economically, or physically. These subjects are often largely dismissed or ignored, rendered almost invisible by mainstream society and culture. Andersson’s portraits capture the beauty and strength borne from this vulnerability, asking the viewer to question representations and relationships of identity across a spectrum of marginalization. Andersson currently lives in Los Angeles.
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 create their clean and sleek websites. Made With Color is a website builder that helps artists create gorgeous mobile/tablet optimized websites and allows them to do so in a few minutes without having to touch a line of code.This week we are happy to share the work and website of Janet Decker Yanez.
Nashville, Tennessee based artist Janet Decker Yanez latest series of paintings “Unwinding Sheets” is a psychedelic exploration of portraiture, color, and abstraction. Using furniture moving pads and spray food coloring, Yanez’s experiments have taken her on a hallucinogenic ride full of colorful possibilities.
Discussing this body of work she states:
There’s a death that happens in the moving process: death of the physical space once occupied, of relationships with people and of things that break or don’t have a place in the new home. There’s also new life that happens while unpacking, as demonstrated in this series called “UnWinding Sheets.”
After unpacking my whole house and giving away all the boxes and most of the paper—for the second time in less than a year—I was left with roughly 20 large furniture paper pads, “economical, multipurpose, and reusable 3-ply recycled paper.” Some days I just wanted to wrap myself up in one of those blanket-sized sheets and hide away in some old box. As an alternative, I brought them to the studio.
Using food coloring and spray-painting techniques, I began creating non-representational heads/portraits. Starting with the basics of facial anatomy, ephemeral, shroud-like faces emerged from these lifeless, linen-like materials approximately 4 feet by 6 feet. Features developed as the coloring puddled or ran depending on whether I was working on a flat surface or vertically and as I used a layering process that included several spray applications and airbrushing.
A cast of characters unfurls from this paper that once wrapped and protected all my fragile household items. Through the title process I found some have names, some speak of their past with terms used to describe the condition of the objects they once wound around, while others merely echo precautionary statements.
Sashiko Yuen aka Wishcandy has created what she describes as “a sassy candy coated horror show”. Her series “Rise and Fall of the Sugar Brigade” places the female body at the junction of pulp violence and erotica which transports you through a technicolor nightmare. Her watercolor and graphite dreamscapes place girls of all different body types in candy filled landscapes, often displaying violent emotions accompanied by titles like “ Bring it”,“Tired of your shit” , and “ You don’t own me” brandishing butchers knives or baseball bats with tears running down their cheeks.
Rather than putting the female body on display, her work expresses angst, vengeance and rage through an unexpected use of color, the depiction of food not only as part of the background but also as a prop and the use of sex as a power over one’s womanhood. One of her pieces entitled “Escapism” features a girl with pink hair lounging on a giant pizza slice with an adamant look on her face. It is thought provoking in the sense that bright colors and girls are not often used associated with deeper, darker topics and emotions.
Upon first glance, Wishcandy’s work looks colorful and cute, but it runs much deeper. It is full of intricate details, colors, and shapes that create an edgy and unique depiction of female emotion. She confronts the viewer with blood, violence, and frustration while using the brightest colors reminiscent of early 1950s and does not shy away from the grotesque. You can really feel the female energy coursing through her work in a way that makes it seem like it should be cover art for an all girl rock band.