New Zealand-based artist Karley Feaver creates assemblages that involve a mixture of stuffed birds and various costume-like adornment ( human hair, gold plated metal, wood, and more). The artist claims that the animals she uses are ethically sourced and have died of natural causes.
Through her grotesque yet beautiful sculptures, the artist explores the idea of transformation and adornment, as her current interests rest in nature’s ability to survive in different forms by adapting, adjusting, and mutating into an increasingly man-made environment.
She intends to make these birds look other-worldly. Interestingly enough, she is successful at doing this by using materials that we are very familiar with (human hair, gold, and wood). She makes an interesting juxtaposition between the natural and the unnatural, the familiar and the unfamiliar- specifically to make a point about the unnatural efforts animals (in general) have to make in order to survive in a man-made environment.
Through the ages people have made beautiful things for themselves and others by using materials from their nearby environment. Birds are known to do the same, especially when seeking to attract a mate. Feaver’s new works bring the image of beauty almost to the edge of absurdity, their appearance is both bizarre and extraordinary, unlike any other creature on earth.
Daniele Papuli’s incredible installations and sculptures at first glance seem like a pool of foaming and rippling water but upon closer examination reveal that they are simply bent and cut sheets of delicate paper. Thousands of sheets of paper bend, fold, and move together in unison creating a dialogue between the spaces and places that they are exhibited in. (via my modern met)
Cezar Berger, a Brazil based illustrator/ graphic designer, creates these incredibly saturated, bold, and grotesque drawings. Looking through these, it makes me think of meat and candy being digested together inside a carcass of a circus clown.
Joanna Black, a photographer, entrepreneur and collector in Edinburgh, UK, uses surrealist images to show us what ugly doesn’t look like. Her “Black Teeth White Heart” series is a compilation of Black’s nose, eyes, lips, and even toe nails in a style that is hauntingly beautiful.
In describing “Black Teeth White Heart” Black begins by saying, “people always told me I was ugly.” As a child, Black suffered from an acute form of scoliosis, causing her to live, sleep and play in a waist to neck metal brace. Her brace in addition to blackened teeth, which were caused by a treatment of tetracycline, were devastating. In an artist statement she recalls the pain of being pitied by adults and mocked by her peers. By the age of 13, however, the brace was removed and her teeth corrected and she left behind that “ugly girl.” It seems impossible that Black, now the owner of Miss Bizio, a couture vintage clothing shop in the Stockbridge neighborhood of Edinburgh and partner at Black Appointments Executive Search, could be ugly or pitied. Relatively new to professional photography, Black has already been shown at the Rencontres d’Arles (2015) and the International Photography Awards (2014).
In “Black Teeth White Heart,” Black takes intensely close photos of her body that, while pinpointing her physical idiosyncrasies, leaves you feeling like you are gazing on your beloved. Reminiscent of Dora Maar portraits by Man Ray in the 1930’s, many of her black and white photos capitalize on Black’s ability to be completely at ease in front of the camera while simultaneously executing the shot. Others are developed to include shadows and graininess and, at times, seem to allude to the many x-rays that Black must have undergone throughout her childhood. Her color photos are more playful and sexual, accentuating her mouth and parted lips. Close photos of her staring eye feel more medical than voyeuristic and her toes a reminder of our fragility.
While “Black Teeth White Heart” covers a lot of photographic ground, the core of the piece, an investigation into beauty, comments on the singular perfection of our features.
Alyssa Monks might make photorealist paintings but she’s equally interested in abstraction. Monks’ paintings explore the tension between abstraction and realism, using different filters to visually distort and disintegrate the body. In this shallow painted space, the subject is pushing against our real space. Strokes of thick paint in delicate color relationships are pushed and pulled to imitate glass, steam, water and flesh.
“When I began painting the human body, I was obsessed with it and needed to create as much realism as possible. I chased realism until it began to unravel and deconstruct itself,” Alyssa states, “Realism and Abstraction are in a symbiotic relationship – they need each other to exist and eventually become the same.” -Alyssa Monks
Did we ever have a grand ole time at the “Art Works Every Time” opening this past Saturday! We had record attendance, with party-goers spilling out into the back patio and onto the streets!
The Colt 45 ice cream was a smash hit- more than the carbonated beverage you might expect straight from the can, the tasty treat was was more like a delicious chocolate gelato with subtle hints of malt. (That’s my best “foodie” review of it, anyway.) I didn’t personally partake, but a few Colt 45 ice cream beer floats were rumored to be…”floating” around.
Our t-shirts, with featured artist Colin Strandberg’s winning design, “sold” like hotcakes. (And by sold, I mean given rampantly given away.) Charlyne Yi’s humorous & raw lo-fi performance called to mind the anti-folk avante-garde musical stylings of the Moldy Peaches and packed the house. Colt 45 was imbibed by all (with specially-made brown paper back beer cozies). Good times abounded. Check out some snaps after the jump, and view the full set on our Flickr!
Thank you to everyone who came out, the artists Colt 45 and Synchronicity Gallery for making this event a huge success!