Looking at Ivan Alifan‘s sexually charged paintings is like watching a private orgasmic moment that we haven’t asked permission to see. His series “It’s not Milk” is a very intimate look at desire, allure, the gaze, and the underlying sexual subtexts of images. His models are captured in the middle of a blissful state and are all covered in what looks like semen, or some sort of bodily fluid. Alifan deliberately paints his subjects with their eyes closed, lips slightly ajar, heads tilted away from the viewer’s gaze, turning them into a submissive object of desire. Alifan says of his intent:
“To have a painting that can exist as an alluring object and shift into an eroticized figure disarms and naturalizes the modern gaze; decriminalizing sex in art. Whether an individual sexualizes the figure, or becomes embarrassed and nervous by the mere suggestion, this is all a process which occurs independently from the painting.”
He says he is less interested in accurately portraying physical characteristics, but rather creating a certain physiological effect from these visceral paintings. He wishes to capture an ambiguous figure where the focus is on how the viewer reacts to viewing them.
Other than his intimate portrait series, he also dowses full bodies in this goo and places them within a surreal setting. Naked male bodies are carrying out sexually suggestive actions, poised in either a pre, or post-coital state. Surrounded by quite childlike, or non-threatening objects (miniature tress, toy cows and tiny houses) these figures try to entice the viewer into entering their world. Alifan is definitely a master of temptation and seduction, and all we have to decide is how we feel about it.
Only 24 hours to go until our massive Black Friday sale on the B/D shop with items 30-55% off. We will release a special discount code on Thursday the 26th at 12AM both on the blog and via our email blast. This code will be the only way to get a massive price slash on B/D goods. All books, shirts, prints, stickers, and back issues of Beautiful/Decay will be on sale.
Items are limited and will sell out so the earlier you shop, the better deals you’ll score! Sale ends on Sunday the 28th at Midnight!
P.S. If you can’t wait until Friday solve the riddle to unlock the code to get early deals!
Pringle of Scotland has commissioned Glasgow-based artist David Shrigley to produce a corporate film. The 3-minute animation depicts the making of jumpers and cardigans over the past nearly 200 year history of the Scottish brand.
Sergey Sbss is a Moscow based graphic artist and designer. Sergey applies his style through collaborations with numerous industries, and is intent on furthering such collaborations in order to experiment with varied and unexpected surfaces.
I don’t know much about Jason Lahr’s work and I couldn’t find an artist statement online but anyone who makes artwork about death metal, Old Dirty Bastard and mixes in digital painting trickery is A-OK by me!
Dan McPharlin is an illustrator who is concerned with the “future past or past future,” as he notes on his webpage. His artwork live in a realm of speculative reality, where space is the final frontier — or perhaps the first of a civilization beginning to rebuild itself.
There are dystopian touches in his illustrations: in one, an astronaut gazes on temple ruins; in another, we see the haggard remnants of a bridge that looks like it used to be golden. It’s a little reminiscent of the final scenes of Planet of the Apes, a familiar monument from a world long lost. McPharlin’s work utilizes rich colors that are once neon yet muted. His palette is one that includes the golden rod yellow of futuristic smog as well as the earth tones of somewhere decidedly not-Earth. There is certainly a quality of nostalgia to his work, though for what, we don’t necessarily know.
“These are the worlds of dreams and half-memories,” McPharlin says on his webpage. “The collision zone of past-futures and futures-past, derived from blueprints laid down decades earlier on the pages of battered sci-fi paperbacks, fantasy art books, and mid-century design quarterlies.” (via Dark Silence in Suburbia)
Kevin Cooley creates Controlled Burns, a series of striking images that showcase swirling and imposing clouds of black, white, and gray smoke. Inspired by the communicative purpose of smoke signals during Papal conclave, the series focuses on ideas and actions dealing with communication, specifically human interactions with nature.
Cooley creates and manufactures the images himself, the smoke is real, and so is the fire creating it, but the artist here is rendering an image, controlling it and taking charge of something that can potentially be uncontrollable. The project is indicative of something we are well aware of, particularly our impotence yet possibility to control natural, powerful elements in our world. The paradox makes us contemplate on something we know, but do not really think about often.
Fire is a powerful natural force that we harness for greater good, and it is the only Classical element that we can create on demand. Yet, when out of control, it has the potential for grave destruction. Controlled Burns is a visual representation of this inherit duality, symbolic of our desire to conquer and control, reminding us that sometimes we must fight fire with fire.
Beginning January 11th, 2014, the Kopeikin Gallery will present Cooley’s work in UNEXPLORED TERRITORY, an interdisciplinary exhibition that explores “the limits of human exploration and our desire to conquer and control nature.” Themes range from colonial exploration of the American West, harnessing fire in the form of combustion to launch rockets into space, to anthropomorphic actions of everyday objects such as box fans, and helium balloons.