Zachary Zezima is an illustrator from New York that graduated from Parsons School of Design. His illustrations are unnervingly disoriented and chaotic yet are seemingly able to carry out emotions. The work consists mostly of black and white with touches of colors to accentuate certain parts of the illustration. The characters in his work float in the chaotic backgrounds and play with the elements added in the illustration, making them quite dynamic and interesting to look at.
Jocelyne Grivaud reinvents Barbie as famous works of art and cultural icons throughout the ages.
“This design needed time to take root, as often. The whole story began one day, in November 1967, with a present, all tenderness.
It was pink, vaporous and extremely delicate. With the patience of an angel, my mother had secretly knitted a dressing gown and tiny bootees for my Barbie. It seems to me there were more clothes, but these bootees, with their little pink knots on top totally fascinated me. Then I grew up. The doll vanished, but I kept in mind the elegance and grace of my Barbie as well as a little bootee deep down my secret box. One day, the idea of extending the happy part of my childhood through pictures I love took shape. Barbie is often criticized for being too blonde, too superficial, too skinny, too “ideal marketing”, too “this” and too “that”…. My aim was to adjust this so famous profile to different emblematic representations.
Here’s my personal contribution as a birthday present to my mascot, Barbie, superimposed on the vision of artists whose work I greatly appreciate. Let me thank them all for creating such intense pictures. Many thanks to Ruth Handler for creating this dolly model that enraptured me throughout my childhood.”
Emilio Gomariz creates gorgeous videos using simple experiments with digital media. Manipulating software’s such as Quicktime and photoshop, keyboard shortcuts, and various saving and opening patterns Gomariz makes transcendental videos that will make you think “Why didn’t I think of that?”More videos after the jump.
Damien Hirst’s exhibition at White Cube Sao Paolo, called Black Scalpel Cityscapes, is surprisingly compelling conceptually and technically intriguing. Hirst, though I’m sure I don’t really need to tell you this, reader, is a very divisive artist. His practice is a slippery one. It’s difficult to dismiss him, because he’s carved out a big space for himself in commercial galleries, but to some work, in example his spot paintings, feel a bit like an emperor wears no clothes scenario. It’s easy to argue that Hirst’s legacy is the success of his practice itself as a sort of art piece, and it would be true that he’s figured out some notable strategy for success, but whether it’s particularly honest or admirable is a question often dismissed by the powers that profit from Hirst or uphold his ideology.
In contrast to all this, Hirst’s most recent series is unexpectedly insightful. He recreates bird’s-eye view images of international cities using paint, surgical tools, and other industrial instruments. The materials for the Rio painting consist of Scalpel blades, skin graft blades, zips, stitching needles, aluminum filings, pins, stainless steel studs, fish hooks, steel wire cutting spool and gloss paint on canvas. On the White Cube website, Hirst’s statement reads:
Hirst investigates subjects pertaining to the sometimes-disquieting realities of modern life – surveillance, urbanisation, globalisation and the virtual nature of conflict – as well as elements relating to the universal human condition, such as our inability to arrest physical decay.
In the paintings, manmade features and natural elements such as buildings, rivers and roads are depicted in scalpels as well as razor blades, hooks, iron filings and safety-pins, all set against black backgrounds. For this exhibition, Hirst selected 17 cities, which are either sites of recent conflict, cities relating to the artist’s own life, or centres of economic, political or religious significance
What’s exciting about this series is that the themes Hirst claims to be examining are clear and his execution is effective. The paintings are visually impressive and also hold up conceptually, and most importantly, they tackle relevant political issues. Basically, it’s not bullshit. Congratulations, Damien Hirst. (Via The Fox is Black)
Enrico Nagel‘s Secret Garden is a series of collage portraits. High fashion models are contrasted against a plain paperboard background. Each model’s face is replaced with a garish arrangement of flowers, jewels, and other ephemera. Nagel juxtaposes what he terms as the “artificial imagery” of the fashion world with the natural imagery of flowers. Each bloom seems like a nearly violent coup of the subject’s identity, the clothing being the only remnant of the former glossy fashion mag photo.
Catching and throwing light from all the right angles, the peculiar, prismatic acrylic pieces from sculptor Phillip Low look like something from outer space. Tip-toeing on the line between art and design, these objects make excellent use of the medium—giving a sense of weight, depth and cellophane-like luminosity to the dense material. The expertly carved shapes combine crystal-like angles and precise areas of coloration to create a series of constantly-shifting reflections that use simple daylight to dazzling effect.
The work of artist Derek Paul Boyle can often seem humorous. Everyday objects are presented in simple juxtapositions that can be pleasantly surprising. His work begins with suppositions, trusted concepts, and expectations and ‘plays’ with them. Boyle depicts the familiar from a different conceptual angle to make his subject matter new. He says:
“I am interested in the power of contradiction, objects as events, and incompatible states of the self – what was once bound is made free, the known made unknown. In a wavering step between angst and serenity, fear and pleasure, I want to give form to anxiety, a shape to tension.”
Powerfully disturbing, and certainly controversial, the art that 22-year old artist The Kid creates spans genres. He describes his work as “forever caught between innocence and corruption,” and the well-executed pieces are compelling with their huge, detailed, Bic pen-drawn faces and hyper-realistic sculpted bodies. Photos of his sculptures, made from materials such as platinum silicon, glass fiber, oil paint, human hair, cotton, and mixed fabrics, force you to look, and look again, in order to believe that they are, in fact, inanimate objects.
In his latest work, The Kid is influenced by bullying inflicted on him by fellow students and teachers when he was younger. The sculpture “Do you believe in God?” which depicts the artist kneeling and holding a gun in his own mouth, was in response to the Columbine killers, who he feels he understands and sees as “victims of a social context.”
“All subjects of my drawings for the exhibition “endgame” really exist and are currently being held in prison-even in the United States-with exactly these tattoos. They are not imaginary and no detail is invented. They are all serving life sentences without the possibility of parole, until they die in prison. There is no other hope for them-a life in adult prison at the beginning of their sentence, that’s all, even though they have been convicted of violent crimes they committed before the age of 18.” (Source)
It’s clear that The Kid empathizes with these stigmatized subjects and hopes to give them back some humanity by evoking compassion from the viewer. Many share his view that social determinism condemns people from birth because of their familial circumstances, but by depicting, in such a graphic way, a sampling of those who are affected, he brings attention to the issue. It’s not empty sentiment, either. The Kid donated a portion of the profits from this work to the non-profit organization Human Rights Watch, which defends the rights of people worldwide. (Via yatzer)