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.”
105 Pariis is the portfolio of Dusseldorf, Germany based designer Enis Maksutovski. Enis effortlessly changes gears across a wide array of mediums from video, illustration, and photography with ease bringing us candy coated visuals that pack a powerful punch. More of his works after the jump.
Premiere website builder Made With Color and Beautiful/Decay have teamed up yet again to bring you exclusive artist features. Each week we bring you some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek websites. Website builder Made With Color doesn’t just help artists create minimal and mobile/tablet responsive websites but 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 hilarious and offbeat illustrations of Kyle Stewart.
Canadian illustrator Kyle stewart is currently working on his Illustration degree at Ontario College of Art and Design University (OCAD). When Stewart isn’t busy hitting the books at OCAD he is churning out his pop culture laced mixed media illustrations, in watercolor, collage, and number two pencil. Influenced by everything from 80’s and 90’s sitcoms (Alf!) and action movies (Robocop!) to his early years of skateboarding, Stewart’s strong sense of line and bold color comes through in all his works making us laugh with him at his subtle alterations to the pop icons that we all know and love.
Illustrator, Dieter Van der Ougstraete’s world of aggressive and grotesque humor is also equally charming in his use of color, and characterizations. I wonder if he could get away with putting the above illustration on his business cards and get away with it?
Brad Kahlhamer uses his Native American heritage and post punk urban culture to paint large abstract symbols across canvas’ and create his own spiritual dolls. He is interested in culture and identity and through his art is building a world where he fits in. His artwork has an undertone of darkness meets the real world. A “third place” as Brad Kahlhamer calls it, where two opposing personal histories meet.
His paintings are filled with totems, poles, teepees, hawks and weaves combined with images from different cultures. It unveils an obsession for his ancestors and the modern life he is living. He is influenced by rock music and multiculturalism which is reflected in his paintings by the tone of colors and the display of the elements throughout the canvas. The dolls are a logical continuation of the artist’s train of thoughts.
Brad Kahlhamer has decorated the dolls with recycled and organic elements; feathers, bicycle-tire inner tubes, his own hair, discarded clothing, rope, and leather. Originally, the dolls are Katsina dolls, cottonwood carvings of Katsinam, spiritual beings in the Hopi religion. Respectful of the amalgam his pieces might have caused in terms of culture appropriation, the artist, always gave credit to the origin of his influences. The tribe he has created is carefully constructed. Blending geometric shapes, nails and wired legs to the essence of the Katsina dolls, the artist is empowering the individuals and blurring the lines between multiculturalism and abstract modernism.
Artist Josefina Concha, with the aid of a sewing machine in lieu of a brush, weaves her work into being. Full of texture and threaded messy shapes of color, her stitching fascinatingly harkens back to Mark Tobey’s thoughts on abstract expressionism: “A painting should be a textile, a texture. That’s enough! Perhaps I was influenced by my mother. She used to sew and sew. I can still see that needle going. Maybe that’s what I’d rather do than anything with the brush-like stitching over and over and over, laying it in, going over, bringing it up. Bringing it up. That’s what is difficult.”
However, of her own approach, Concha strives not just to simulate, but replace painting with crafting techniques, a medium formerly equated primarily with domestic labor. She explains, “The building of my work is articulated through the investment of a material (the thread) on a piece of cloth, and the time dedicated to sew it. This is made visible in the superimposition of weaves that in short will generate a thickness (body) and a sensation of volume, dominated by the treatment of color and optical mixtures, to which I turn to with the eagerness of creating suggestive images that appeal to the ephemeral.”
Along with working as an editorial photographer, James Pearson – Howes also creates wonderful themed series of photographic documentations. I especially enjoyed his continuing series, British Folk which follows various people who take part in folk events that are held throughout Britain.
Lola Dupre’s collage visions can make Hilary Clinton look like Jaba the Hutt and Virginia Woolf look like a camel. Dupre cuts and pastes her pieces by hand, stretching or shrinking features of the face and/or body of politicians, celebrities, and anonymous characters. Strange though this may sound, her approach to collage seems so obvious it’s almost surprising no one’s thought of it before. This is what makes her work so strong. A really great idea can often seem familiar because it makes so much sense.
In her most recent work, Dupre has been transforming nude figures into unexpected (and sometimes ‘Human Centipede’-like) forms. Whereas in most of them she multiplies limbs and genitals, she throws you a curveball in Osa Desnuda, where she sticks a the top half of a teddy beat head on a nude woman with an ample drooping breast and strange proportions throughout. This one in particular is reminiscent of Wangechi Mutu’s work. She also creates hybrid forms with women’s bodies: confusingly erotic while also disturbing and unexpected, though Mutu’s work is more extreme than Dupre’s.
Although the images are made manually they don’t escape the digital. They reference (accidentally or intentionally) a computer screen that has frozen up where the user has tried to drag the image across the screen, only to have all the repetitions of the image remain as it is moved along. Though similar imagery could probably be made on photoshop, the handmade aspect is essential. The images would loose the sensual textures of skin achieved in the overlapping paper, and the process itself is more mysterious.