Simon Schubert creates an austere brand of hauntingly elegant forms that remind me of the creepy twin scenes from The Shining, minus the oceans of blood-bath (though somehow, is simltaneously implied.) They straddle the realms of design, human and esoteric form, at home either in some avant-garde London hotel for millionaires or some strange fun house carnival.
The graphically sexual and violent nature of Suehiro Maruo’s illustrations has over the years catapulted him to stardom in the underbelly of Japanese art. There’s quite a few prominent blogs (Baby Art run by Trevor Brown, for example) that revolve around the genre which he is so big in: nightmarish manga (the Japanese term for comic books, meaning literally “whimsical pictures”) fall into the Japanese category of “erotic grotesque”. The stories often take place in the early years of Showa Era Japan. Maruo also has a fascination with human oddities, deformities, birth defects, and “circus freaks.”
Some of the images I’m posting here were from his collaborations with Japanese punk and hardcore records- many having to do with Fascist imagery that we at B/D in no way endorse! Nonetheless the artwork is beautiful. I especially love the line work and color juxtaposition in this cover he did for Funeral Party.
Lynda Benglis emerged decades ago as an artist breaking barriers and shifting paradigms. Pouring neon paints in exhibition spaces served not only as an action on the figure of the artist, but while these pieces created installations, the poured paint was also viewed and handled by Benglis as an object, and preserved as such. Years later her poured paint artworks are preserved and installed in their original format- which presents a transformative dynamic that the artist established.
Paint has historically been used to create imagery on a foundation- canvas, wood, paper, etc. In this common format the paint becomes an object of art only after joined with a substrate. Benglis was a forerunner in breaking away from this. Today there are a number of artists pushing forward on this notion, and breaking away further in the development of their bodies of work. Artists Linda Besemer, Margie Livingston, Ryan Peter Miller, Laura Moriarty, David Allan Peters and Leah Rosenberg all create works that demonstrate the vast spectrum with which paint as a medium has been torn from the substrate and presented conceptually and physically as a substance that can be molded.
Margie Livingston recently presented a new body of work in her solo exhibit “Objectified”at Luis De Jesus Gallery in Culver City. Having spent years casting and sculpting paint, Livingston’s portfolio demonstrates an evolved investigation into forms and space, substance and the function of the object. In her newest work she casts and sculpts acrylic paint alone into slabs that appear as wood planks, the patterning of hues reminiscent of wood grain. The wood-like planks, sheets and stumps are then used in the formation of minimalist sculpture.
Alex Gibbs is an English artist whose paintings and drawings are equal parts despairing and funny. I love his mix of patterns, graphic contours, and all-over narratives–sex on a couch in a party room with a man huddled and crying; dancing by yourself in a room filled with big floral prints; a (presumably) dead couple holding hands in airplane seats surrounded by puzzle-like pieces of their airplane. His work doesn’t make light of human tragedy per-se, it just gives it a little perspective by flattening us into the shapes and patterns of the world we live in, relishing in the absurdity of our perceptions. ( via )
This beautiful series of portraits is part of Sylwana Zybura aka Madame Peripetie‘s award-winning photographic book project, Dream Sequence. The strange, but intriguing and striking aesthetic derives from Peripetie’s varied influences- from surrealism and film, to ideas of beauty and the sublime, this project covers it all.
It is hard to categorize the project; because of its extensive preparations, it extends itself to Avant- Garde fashion, performance and art photography. The most impressive thing of all here, is that the subjects were shot in-camera with minimal retouching involved during the post-production period. The body painting, prosthetics, wigs, unusual 3D make-up techniques and other props were the characteristics that made this project as special as it is.
The series was initiated in Germany and originally styled and conceptualized as a solo project. I continued the project in London, where I have worked and developed its visual nuances with a regular team who have constituted the core of the project – stylist Stella Gosteva, and make-up artist Marina Keri. In addition, I have collaborated with a variety of eminent up-and-coming designers from the leading Fashion and Art Schools in Europe. It is the involvement and donation of these unusual and beautifully crafted pieces that have crucially contributed to the creation of the final images
Artur Birkle is a German photographer with an eye for the candid and playfully suggestive. He shoots across many fields, including editorials, portraits, and reportage photography. His style is always distinct: high flash, casual poses, and accentuated body parts. Skillfully capturing the energy of his models and their intimate gestures, Birkle’s works allude to eroticism, rather than overtly display it.
Two series from his portfolio are shown here, Fruit Salad and Personal. The former features fruit in erogenous situations: a banana anointed with a thick, creamy liquid; apples strategically placed over breasts; a plum resting on someone’s tailbone. The sexual imagery of fruit has been explored before in art (and our imaginations)—i.e., the phallic resemblance of a banana—but Birkle does an excellent job accentuating the eroticism in a clean and simple manner. The skin texture and individual hairs of his models lend the images an honesty that heightens the viewer’s curiosity.
The Personal series has the same lighthearted tone, but with a softer, more sensual edge. These images are like viewpoints into private moments, buzzing with the after-burn of intimacy. Events such as twilight window-gazing and partially dressed bodies are documented in his fragmentary style, enticing us with a piece of the story and allowing our imaginations to fill in the rest. Birkle captures the nuances of physical expression in clever and unique ways.
Melbourne based Joseph L. Griffiths’ drawings and mechanical installations seek to transcribe the living relationship between man and machine. The relentless accuracy of the drawings evoke the printed sheen of digital reproduction, simultaneously celebrating and denying the human touch. His interactive drawing machines propose a return to primitive technologies and encourage a reconnection to the natural and man -made worlds through manual crafts. Directly engaging the audience in the creative cycle, his work seeks to reevaluate the human position in the technological equation, and realize the potential for art to permeate everyday life. More images of the drawing machines and drawings after the jump.(via pulmonaire)
Today’s daily dose of inspiration comes from Michael Ostermann. His work is a mixture of vector art and surrealist imagery. Some of his work reminds me of horror flick cover art… all bad acting aside, the cover would be awesome. Very skilled illustrator/designer. Ostermann currently resides in Austria.