Tim Noble and Sue Webster are a creative duo who assemble trash heaps that project shadows of recognizable—and often grotesque—forms: lumps of scrap metal cast the shapes of fornicating rats, and elsewhere shattered wood pieces align into a bickering couple. As a critique of human consumption and waste, their work falls under the category of “Gluttony” in Beautiful/Decay’s Book 9: “The Seven Deadly Sins.” Also featured in Book 9 are Tom Dilly Littleson’s wrathful portraits of self-mutilation (who we wrote about last August) and illustrator Brendan Danielsson’s crude, bloated portraits of sloth.
The concept of gluttony in Noble and Webster’s works arises from the idea of “perceptual psychology,” which concerns itself with how humans identify and interpret images. As it states on their biography page:
“Noble and Webster are familiar with this process and how people evaluate abstract forms. Throughout their careers they have played with the idea of how humans perceive abstract images and define them with meaning. The result is surprising and powerful as it redefines how abstract forms can transform into figurative ones.” (Source)
The junk heaps and their shadows produce startlingly different (yet somehow thematically similar) images—a ball of congealed road kill, for example, projects a human head impaled on a stake. This disparity compels the viewer to produce an interpretation and discern how the images are related. Bridging the gap, one may read the figurative signs of human over-indulgence, waste, and destruction.
To learn more about Noble and Webster and how other contemporary artists explore the seven deadly sins, grab a copy of Beautiful/Decay’s Book 9. Limited copies are still available at our shop.
Olivier Ratsi‘s latest project Onion Skin is an attempt to create an unreachable plane by physical means. Two walls are connected at 90 degree angles, and a series of visual light displays plays simultaneously off of the joined walls, created a uniquely intangible, unreachable dimension. This type of work is typically elaborate for Ratsi, who describes his works as “The deconstruction or fragmentation acts mainly as an emotion trigger, which does not aim at showing what things could be, but more at questioning their references.”
Shapes that begin to form are quickly changed, morphing into others and blending into a seemingly 3-Dimensional landscape. Ratsi, who is also the co-founder of visual art label AntiVJ, gives the viewer a sound component to coincide with Onion Skin‘s hypnotic geometric shapes overlapping, peeling and unfolding. Ratsi explains, “Its aim is to generate a break with the meaning of the original items, to propose a new viewing angle and to provide the public a new field of experience, another way of looking at space and time.”
Onion skin is currently installed in Belo Horizonte, Brazil (until November 30th, 2013), after which it will be included at an exhibition at the Parque Lage in Rio De Janeiro (December 7th and 8th, 2013). (via designboom)
Adam Batchelor is an illustrator from Norwich, UK. His work heavily uses white space to draw attention to his detailed illustrations. His illustrations look as if you dropped something on the floor…and waited way more than the 5 second rule to pick it up. A little gross, but beautifully done! Batchelors’ series Nepali Waste (which the piece above is a part of) uses a variety of mixed media like colored pencil, dirt, blood, and even mosquito! Very interesting.
Photographer Vincent Dixon and the Mimi Foundation ( a non-profit that helps cancer patients to deal with their condition), join forces to produce ‘If only for a Second’, a poignant book-project that includes the portraits of 20 cancer patients under a positive light.
The participating men and women were asked to keep their eyes closed during their makeover, a step that they weren’t really aware of; they thought it was just procedure for the photo-shoot. They were not expecting to see what they saw later.
The last step of the process entailed the 20 cancer patients and a mirror (a two-way mirror which was hiding photographer Vincent Dixon behind it).
They were asked to open their eyes to see themselves. The surprise they got from the hilarious makeovers clearly shows on their faces- Dixon, behind the mirror, took photographs of their first reaction- a moment of joy, amusement and surprise.
Fresh design work by T/\KEC/\RE found on our very own B/D creative flickr pool! Simple clean graphics with a clear message – always a winning formula – all you young graphic designers out there take note.
Dude Harrison, thanks for your help. You’re my friend ‘n’ all, so I’ll leave it at that. Zigz is gonna miss his man-bud terribly. He will probably paw at the spot you once sat and snort around the office trying to collect strands of your long, long hair. Check out Harrison’s killer portfolio HERE and some of his rad design work after the jump.
Because Younger Looking Eyes Never Go Out Of Fashion
Maybe She’s Born With It
British artist Oliver Jones scrutinizes the media and its impact on self image for his newest exhibition titled, Love the Skin You’re In. If that phrase sounds familiar, that’s because it was an advertising slogan for Olay beauty products. Jones specifically draws from these industry campaigns and pairs them with photorealistic chalk-pastel drawings to demonstrates what these phrases do in shaping our ideals of beauty.
The large works feature zoomed-in portraits of faces as they’re doing something that’s directly tied to making themselves look better. We see an older woman wearing a facial mask while a doctor is examining the wrinkly skin around her eyes. A relatively young-looking man is about to undergo the knife as his forehead is marked with a plastic surgeon’s pen. While that’s more extreme, Jones reminds us that even something as simple as laying cucumbers over your eyes is a way of obtaining society’s defined “beauty.”
“Capturing both the translucency and fragility of the skin’s surface, Jones’ drawings scrutinize subtle variations, colorations and superficialities. The meticulous and time-consuming process by which the artist creates his work is in direct contrast to the immediacy of imagery captured in today’s society, and negates the rapid pace at which we are accustomed to consuming images.”