Jan Fabre is an innovative visual artist whose works explore the realms of psychology, anatomy, and metamorphosis. Throughout his career, Fabre has been particularly fascinated by the human brain—the seat of cognition, and arguably, the spirit—and the way neurobiology intersects with the heart. He studied the brain for over ten years, working in dialogue with neurobiologist Giacomo Rizzolatti. Wondering about the brain’s role in the experience of emotion and empathy, Fabre asks himself and his viewers, “Do we feel with our brains and think with our heart?”
Featured here is a series of Fabre’s Carrara marble brain sculptures, each one bearing surprising elements; insects crawl across the veined surfaces, and scissors and corkscrews protrude in a macabre flare of the surgeon’s table. Fabre experienced being in a coma twice in his life, which caused him to explore the brain as an eerie, post-mortem state (Source). As a result, death is present throughout these works; the brains stand as white monuments not only to our mortality, but to our statuses as both individuals and interconnected human beings. Following this theme, Fabre has also sculpted marble bodies resting on tombs, similarly adorned with insects, which represent the transmutation of the physical and spiritual, life and decay.
Fabre’s work will be exhibited at the Deweer Gallery in Otegem, Belgium, from November 4th–December 20th, 2015. Titled 30 Years / 7 Rooms, the show features Fabre’s decades-long collaboration with Mark Deweer. (Via Hi-Fructose)
Combining his interest in urban culture and art history Karlos Carcamo navigates toward making work that is in constant dialog with each other. Through the use of high and low cultural iconography and art historical references he creates a working space between both cultural identities in which samples could be built upon with new content. The specific subject matter of his work touches on issues related to inner city life while balancing elements that address a broad spectrum of formal issues that engage contemporary art discourse. Creating a vocabulary that speaks of and reflects the world we currently live in today.
G-Shock and RESPECT. magazine have teamed up to showcase the work of some top, emerging art makers from across a variety of disciplines. The video series interviews four innovators: artist/sculptor Christophe Roberts, industrial designers Aaron Stathum and Eliot Coven and photographer Kareem Black. These individuals are exploring their own imaginations and finding new ways to their visions to life through their respective art forms. From sculpture, to photography to developing concepts for industrial design and products that improve our every day lives.
First up is Kareem Black, a Philly-bred photographer who burst onto the New York City photography scene at the tender age of 18. Kareem has shot everyone from Nas to Jenna Jameson and Leonardo DiCaprio in between. He has a gift for creating both bright, saturated images that capture the pop-culture personas of the people he’s shooting, and timeless, moving images that get to the very core and soul of his subject. No matter what the subject, setting or the mood you know that Kareem will deliver a stunning image that sends a clear message.
His unique perspective through the camera lens breathes life into his subjects, objects and surroundings. If a picture is worth a thousand words, Kareem’s pictures are worth millions.
Bart Hess, perhaps best known as the guy who did the slime art in Lady Gaga’s videos, creates work that distorts the human body in delightful and troubling ways. Visually, it’s astonishing. Hess intersects high fashion and fine art with an ease reserved for very few. His visually tactile aesthetic is informed by a marriage of hand-craftsmanship and digital retouching.
Hess’s recent projects, entitled Heart to Mouth, MUTANTS, and Shaved, respectively, use futuristic materials and textures to blur the boundary between textile and skin. “My work involves a lot of handcraft and a lot of work behind the computer,” Said Hess in a recent interview. “These two opposite work-methods inspire each-other. Personally I think that making for example an animations helps me to think differently about the movement of a textile.”
Hess’s mixture of craft and computer is marvelous to witness, because while he plays on tropes about the human body, he doesn’t offer any suggestion as what to think about it. It’s a purely visceral, colorful, and visually arresting experience. The rest is up to the viewer. (via gaite)
Born in Oklahoma to a Vietnam veteran, Geoffrey Michael Krawczyk grew up in close proximity to the violence and sacrifice required by war. “My work is an exploration of the mythology of spirituality, the politics of aesthetics, and the connections between sacred and profane,” says Krawczyk. His series, “Passages,” was most recently shown at Artspace Gallery in Buffalo, New York, where he now resides.
Tom Sachs sculpts truly elaborate masterpieces. In 2001, he recreated Le Corbusier’s 1952 Unité d’Habitation using only foamcore and a glue gun, and constructed a McDonald’s solely from plywood, glue, and assorted kitchen appliances. His attention to detail is mind-blowing. So intense.
David O’Keefe’s clay sculptured caricatures are grotesquely accurate. There is a sliver of realistic figuration in their distortion that makes them strangely believable in their likeness. In particular the above image ruins my sincere affection for The Beatles, as they now look like horrible gremlins from a bad acid trip.
Artist Jennifer Trask counts bone as one of the media used in her elaborate sculptures. Bending, carving, and gilding, she constructs bouquets of antlers, gold, and other found objects, some dating as far back as the 18th century. There is a certain level of awe that comes from viewing these labored works as Trasks crafts delicate flowers out of material that we only know as being stiff and obtuse. She emphasizes craft, while at the same time making things ghostly realistic. Her work is described by the Lisa Sette Gallery as having “sprouted from an enchanted seed… Trask’s objects emit an unmistakable air of magic.”
The process is undoubtedly important to her work. In order to manipulate her carved-bone works, she must know how and in what deer antlers need to be cured, and what kind of solution of vinegar will soak a python’s rib to make it easily malleable. Despite this knowledge, her goal for her work is much more simple than that. She states, “That’s what I’m trying to claim when I go into the studio. I want to make something that I believe could be real, something that could have happened on its own.”