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James Turrell

Bridget's Bardo (Ganzfeld Piece)

Bridget's Bardo (Ganzfeld Piece)


James Turrell is one of the most important artists in the world dealing in light and space. Born in Los Angeles in 1943, Turrell studied mathematics, psychology and sensory synesthesia as well as art at university. He flies around the desert in little planes and has devoted the best part his working life to turning a volcano into a piece of land art. “The spaces you encounter during flight can be amazing: meeting the dawn or watching the Aurora Borealis,” he says and describes an experience of taking off once at dawn and seeing the sunlight trapped between ground fog below and cloud cover above. These words paint a perfect portrait of his work.

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WET PAINT GRANT RECIPIENT: Clark Goolsby

To call Clark Goolsby a multi-media artist almost seems like an understatement. Indeed, the sheer volume of materials and techniques he expertly employs is staggering, often combining spray paint, acrylics, pencil, wood, foam, plastic, string, and even audio into one finished product – but even that far from represents the impressive span of Goolsby’s “multi-ness.” He seamlessly transitions between different styles, from abstracted, multifaceted geometric forms to realistically rendered objects, crisp lines to more impressionistic strokes and drippings. As if that wasn’t enough, Goolsby tackles a seemingly endless mix of iconography, juxtaposing rainbows and antlers, inverted crosses and trophies, pyramids and statuesque faces. Oh, and by the way, it’s all in technicolor.

The result is just as overwhelming as you might imagine, and that’s exactly the point. Goolsby’s work parallels the milieu of stimuli we are constantly barraged with every day of our lives – a combination, he suggests, which poses a persistent, sometimes surprising threat to our survival. Goolsby’s most recent solo exhibition, Strange/Love at POVevolving Gallery in Los Angeles, focuses on “how we maintain optimism in a world that is so full of potentially life ending situations.” At the center of this exhibition, an 18 foot long skeletal form made of wood and foam entitled “Dead Man” lies horizontally, suspended from the ceiling by hundreds of neon-colored threads. Goolsby’s work reminds us that, even if we are all essentially dead men grasping onto life by the threads, at least those threads are bright, illustrating a sense of playful joie de vivre which urges us to live larger than life, finding beauty in the unrelenting stream of chaos while we still can.

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Ellie Coates’ Drawings of Myths, Folklore, and the Renaissance

Through the work of Ellie Coates the viewer is invited into the timeless world of story telling. Combining inspiration drawn from myths, folklore and Renaissance painting she creates the props with which to encourage the imagination of the viewer to weave the narrative. Through the well-known Greek Myth of Medusa the Gorgon Queen Ellie explores and adapts both the anatomy of this formidable character and that of the story surrounding her.

The work deals with entrapment, the female role in storytelling and the close relationship between the beast and the human. Whilst Ellie’s work addresses themes of entrapment it in turn provides the tools for escapism. The otherworldly and uncanny feel is made even more mysterious and mythical through her drawing and making process. The surface of the paper is laboriously prepared with layer upon layer of rabbit skin glue and gesso before graphite is applied with meticulous mark making to give an ethereal and luminescent quality.

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Nicholas Hance McElroy

Nicholas Hance McElroy

Nicholas Hance McElroy takes photographs, but photographs unlike any I could ever take. A) Because I’ll probably never go to such dramatic landscapes as these, and B) They’re so beautiful and hazy… as if part of a far-off dream.

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You Can’t Fake This – The Beginnings Of Beautiful/Decay

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We at Beautiful/Decay don’t usually post about our own work but we thought that our readers would enjoy this short documentary about Beautiful/Decay founder and artist Amir H. Fallah. Documentarian Edward Symes traces the origins of B/D from zine to magazine and also gives you a glimpse into Fallah’s studio and new series of works. You can also read a short interview with Fallah on Symes’ Frontrunner Magazine.

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Fabric Wrapped Around Trees Creates Compelling Visual Interventions

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Zander Olsen wraps white fabric around trees to “intervene” with the organic lines of a landscape, often blurring our sense of foreground and background to generate a jarring sense of flatness. Olsen suggests such compositions convey a new “visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.” As a result, the lush wonders of Wales, Surrey, and Hampshire are transformed into beautiful abstract images, with pops of white.

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Mr.Div’s Mesmerizing GIFs

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Matthew DiVito, also known as mr. div, is a motion graphics designer and aspiring game developer.  Using a cocktail of software DiVito produces these hypnotic gif images.  A popular file type in the 1990’s, gifs are experiencing a resurgence in popularity.  DiVito’s images certainly retain a retro sensibility.  However, gone are the blocky appearance and wonky movement typical of the first wave of gifs.  His work has a certain cosmic precision and elegance making each file slightly mesmerizing.

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Teo “Moneyless” Pirisi’s Mysterious Geometric Installations

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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.”

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