“In my recent body of work the visual elements of Sci-Fi and point and shoot photography intersect. The resulting overlap of vivid imagery evokes the idea of parallel universes and alternate versions of ourselves. These other worldly landscapes are inhabited by “mall chicks and misfits” and conjure up questions of how we connect with these hypothetical figures. I like working with opposites, conflicting genres, and subjects from polarized sides of the social scale. I find that when you interweave contrary ideas, it gives a perspective on how strange it can be in present day life.”
Jordan Sullivan’s series The Burial Cloud examines and reflects on the rape of his mother in 1973, Petacalco, Mexico. Each photograph is just a glimpse into a memory, a fleeting moment that we cannot hold onto or make sense of. Sullivan has created this series from found photos and letters from his mother, as well as his own staged photography. The tone in the photographs quickly changes from adventurous and carefree to somber and destructive, all the while embodying the same distant vagueness. This leaves us with curiosity and wonder of the events that took place. Sullivan explains:
“[My mother] had traveled with her friends to Petacalco in search of an epic wave that a pair of surfers had recently discovered.”
This series lays out the event just as it would appear as a memory; in fragmented images that shift throughout time. There is no implication of a time or place in much of the imagery, just a window inward reflecting on the human psyche. The emotion of the woman shown, the photographer’s mother, changes from bright and excited to isolated and alone. The Burial Cloud is a journey in which we must piece together a story we cannot fully understand. A story told through disjointed, stunning images that include roaring oceans, burning flora, and scenes of discontent. These ethereal photographs radiate feelings of discovery, doubt, youth, and fear. Sullivan shines light on a delicate subject while beautifully capturing his mother and a tragic past. The Burial Cloud will be released as an illustrated biography in 2016, and will include photographs, text, and collages.
Ana Paula Caldas is a graphic designer from Brazil. We received an email from her earlier to day, but don’t know much about her. Ana’s stuff is pretty awesome though. Most of her work plays around with typography and light, and her images are rather vintage futuristic. Check it out!
Sr. X is a stencil-graffiti artist based in Gijon, Spain. His humorous post-ups are fantastic and will make any graffiti artist say, “why didn’t I think of that?” Although there is a lack of information about him on the internet, the work on his Flickr page speaks for itself.
New York City-based artists’ collective Mosstika cleverly reintroduces the jungle to the urban by covering ordinary steel and concrete surfaces with green, living graffiti made of real live grass and moss. The eco-minded, guerilla street artists primarily operate within New York City, the ultimate urban jungle. The collective is led by artist Edina Tokodi whose own Japanese Zen-inspired installations explore the interconnectedness of nature and the humanmade, inorganic world.
About its creations the collective says: “We believe that if everyone had a garden of their own to cultivate, we would have a much more balanced relation to our territories. It is with this notion in mind, that we at Mosstika, aim to collide the worlds of art and nature, creating havens of unexpected greenery, within the colder harsher environment. Together we aim to give green guerrilla tactics a new twist by creating works meant to be touched, in turn aiming to touch the souls of all that pass by. We strive to call back to mind a more playful existence, returning man to nature, even among the barren patches of urban existence.”
(via Visual News)
David Hornung makes paintings from both oil and gouache. He paints quiet simple, small houses located in fenced fields, bucolic scenes of nature, solitary women and men, memento mori, snakes and birds, paths and walls. Objects in his paintings seem to be a distillation of universal human experiences with the world and among each other. Some objects are singled out as being important by a kind of twin cloud, the direction of light, or glowing patches of color. The paintings are beautiful executions of color theory, which makes sense because David wrote the book on color theory “Color: A Workshop Approach.” His subject matter hovers between observation and the symbolic, and he refers to Philip Guston’s Alphabet series with plain respect, and like Guston, David was reluctant to talk about image-based thinking. We walked through Brooklyn on the way get some lunch, and David said that painting is hard to talk about because the ideas come out of working with images, that the process gives painters their ideas, which is a kind of reversal, because for most people who work with ideas – the ideas generate the process.
You can see David Hornung’s work at the John Davis Gallery in Hudson NY from May 23rd to June 16th.
Daniel Arsham’s structural interventions cause walls to appear in a state of flux, as if they are melting or dripping, reverse the notion of architectural rigidity and of a partition’s standard presentation. His aestheticized sculpture and installations realize hypothetical architectural elements and counter intuitive designs, queuing possibilities and coercing material to behave atypically.
Born from a complicated mixture of graffiti, typographic abstraction and installation art, the work of Italian street artist Teo “Moneyless” Pirisi differs slightly from what you would expect to find in an outdoor space. His mathematical, geometric sketches are quiet, contemplative—an appropriate precursor to his finished installations. What started as lettering on walls steadily shifted toward pure abstraction, where Pirisi says “my efforts then dropped the symbolic meaning of the letter.”
Pirisi ditched the paint, the letters and the walls for a series of carefully choreographed suspended rope installations. He has traveled the world creating multiple iterations of these works, which are often found suspended in wild or forgotten spaces. Pirisi’s attention to perspective and material are seamless, and his placement is usually quite surprising—providing moments of wonder for curious passerby.
From the artist: “My shapes are reduced to the minimum, at the same time they carry some kind of an intense tension, an invisible movement; most of my patterns hide multiple visions and different perspectives. I think my art now speaks through geometry.”