Lynn Palewicz has taken doodling on her hands to a whole new level. Her drawings, that fuse black pen body drawings with up-close photography, teeter on the edge between illusion and reality, abstraction and figuration. These dizzying images will definitely make you do a double-take.
Jake Fried takes us through a journey deep into a dense forest of the unknown where mythical beasts appear under nightfall and coded ancient hieroglyphics hold dark secrets. Watch the full video after the jump.
San Francisco based artist Alec Huxley‘s large and cinematic sci-fi paintings are filled with noir-influenced contrast. Both bleak and bright, his paintings largely take place in urban or desert landscapes of the American West Coast and are representative of both science fiction and surrealist inspired narratives that often include animal figures. Huxley’s use of light throughout his compositions lend his work a realism that is rather haunting, and reminds me of something you’d find in an apocalyptic comic book narrative. His solo exhibition, “Astronomical Menagerie,” is described below and currently on view at the Minna Gallery in San Francisco until October 26th:
“At the witching hour, fashionable figures in space helmets rendezvous with wild beasts in the empty streets of San Francisco. As animals are central to our perception of humanity, relationships of power and domination juxtapose with naked reminders of human frailty. Confident in our ingenuity, we float about cities at the apex of species. Absent our imagination and material protections, we stand vulnerable beside creatures functioning solely to survive.” (via exhibition-ism)
Los Angeles based artist/sculptor J. Frede‘s recent body of work, “Heirloom” was shown last month at Pirate Contemporary Art in Denver, CO alongside painter Amanda Gordon Dunn‘s latest paintings. J’s Heirloom collection consists of 13 new sculptures that investigate the objects he uses and the artists personal memories attached with those objects and the objects he uses where he has no previous history with. An excerpt from Frede’s artist statement explains it best:
“I am interested in the idea of objects holding the past while hiding their past. The memories we associate with our grandfather’s watch or the blanket our mother made us, we can have strong reactions at the mere sight or smell of items whose history we can recall and these same objects are static to anyone else who sees them with no personal association.”
A reoccurring object J used in several sculptures is rope taking the place of a broken or missing piece in an item in a way that seems to embody or hint at a personified ghost. J possibly adding narrative to what the object signifies to him from his past, or adding his own imagined explanation to what the objects might of meant to someone who once cared for those treasured heirlooms.
Australian born photographer David Jo Bradley documents the human condition in his photographs. I am really digging his work. Here are some photographs from his 2010 project on Mali, Africa.
Self-taught artist from Santiago, Chile, Alejandra Villasmil creates visually stimulating collages. Her work questions the notions of desire, beauty, sexuality, as well as gender binaries.
This might be one of the most inventive works of advertising and street art that i’ve seen all year! Brothers and Sisters creative duo have teamed up with anonymous German street art collective Mentalgassi, to create art installations for Amnesty International. Called Making the Invisible Visible, the posters highlight the case of Troy Davis, a 42-year-old man who has been on death row for 19 years in the USA, despite serious doubts about his conviction.
Artist Ramiro Gomez alters luxury magazine ads and photographs by adding in the often-underpaid workers that make their beauty and opulence possible. He paints gardeners, cleaning ladies, people who maintain swimming pools, and more. They are faceless bodies and appear like ghosts in and in front of mansions and sunny palm trees. By doing so, Gomez highlights the disparity between these lavish lifestyles and the workers who barely make minimum wage.
Gomez experienced this firsthand as a live-in nanny for a wealthy West Hollywood family. In an interview with Fast Company, he states, “It was interesting the feeling that would happen as I was signing off this purse, that the family had so much already, yet they weren’t able to pay [me] more,” Gomez says. “I took it personally, in a way.” This job was also where he first had the idea for the series. After fishing magazines like Dwell and Luxe out of the trash, he tore out the ads and started painting in figures.
So, what do affluent folks think of Gomez’s work? Those that have seen it actually like it, including his former employers. His paintings illustrate the complex economic system that find ourselves in. Those who can most likely afford Gomez’s work are ones that identify with the luxury lifestyle. But, they are essentially buying work that is critical of their status. That’s part of the point of Gomez’s paintings – to engage with an audience who might otherwise not realize the other side of their privilege. (Via Fast Company)