I’m really digging the often surreal, always vibrantly colorful and playfully geometric paintings of Paul Wackers.
From his artist’s statement: “My work is first a response to the world and then a reaction to what it has to offer. Images surround me as abstract concepts, presented by the curious interaction of forms, feelings, and situations. They offer a glimpse into the way the world is constantly being reloaded with opportunities and options for reinterpretations and impressions. It might start with a beam of light passing through a window in the afternoon and that within that beam there is the potential of a full spectrum to appear. In my paintings I try to create the feeling of getting lost in the thoughts that are easily ignored or put aside.”
Given the prevalence of new technologies and the endless possibilities associated with digital programs, it is no surprise that most contemporary artists working in collage seldom create works entirely by hand. To Argentinian artist Larissa Haily Aguado, however, fabricating collages manually has become an integral aspect of her practice, as “the possibilities of fixed manual collage in the digital age provide exciting opportunities to engage with craft, materials, analysis and outcomes.”
With mesmerizing compositions, dream-like subject matter, and a “sharper, more immediate, and more human dynamic than is possible with computer software,” Aguado’s collages combine photographs, illustration, found materials, and elements of graphic design to form surreal yet seamlessly cohesive scenes. By attaching inanimate objects to human bodies or placing retro furniture in scenes of nature, Aguado creates works that are both tongue-in-cheek and aesthetically appealing.
Representative of her wide range of artistic experiences and clearly influenced by her multi-faceted career (including major music industry projects, fashion campaigns, movie poster designs, and TV commercials), the diverse nature of her collages undoubtedly conveys her inventive imagination and eye for design.
Female naked bodies displayed on a black monochromatic background. Photographer Marius Budu uses nudity to express the human condition. Based in Copenhagen, Denmark he has been working with nude subjects since 2006.
The women’s bodies are perfectly aligned and arranged. Forming shapes where the bodies can no longer be discerned individually. The overall images depict an architectural element rather than a gathering of women. Even though they are naked, there’s no ambiguous feeling upon looking at the photographs. Marius Budu plays with the light and shade; accentuating the different tones of the flesh. The models attitude is strong and focused, creating a powerful configuration.
The message is simple and efficient: to unveil the limitless potential of the human body. In the ‘Flesh Structures’ series, Marius Budu uses the bodies of women to tell us a story, to communicate his vision. Using the most basic mean in its original form, he translates his fascination for the human body into intense visual sculptures, inviting the viewer to “wonder or simply absorb”.
Dissolving Europe is the latest public art intervention series by Berlin-based street artist Vermibus. Using a hacked inter-rail ticket, he has been traveling Europe with an extensive set of billboard-lock keys, using them to illegally access print billboards and advertisement frames. Once opened, he uses various solvents and paints to alter the images, sometimes removing them entirely, and even cutting and pasting others. this process destroys and beautifies, blurring the already transgressive line of advert-hacking public art interventions. The artist states, “By using the advertising space and how the human figures are represented in that space, Vermibus is removing the masks that we wear and is criticizing advertisement which takes away a person’s identity to replace it by the one of the brand.”
Continued from his website, documenting the process, “Vermibus regularly collects advertising posters from the streets, using them in his studio as the base material for his work. There, a process of transformation begins. Using solvent, he brushes away the faces and flesh of the models appearing in the posters as well as brand logos. Once the transformation is complete, he then reintroduces the adverts back into their original context, hijacking the publicity, and its purpose.” (via lizartblog)
“The majority of apes and monkeys I photographed were privately cared for, contributing to the diversity of relationships, environments, and personal possessions in the photographs.
I incorporated elements from paintings, illustrations and my fantasy images into the photographs and tried to show each primate had a unique personality. I usually photographed within three feet of each primate, with a 35mm lens, never through bars or plexi-glass cages. I made friends with the primates and made subsequent visits. Developing a relationship was essential to capture the intensity of eye contact, which shows a consciousness of me.
I sought moments and edited for photographs that do not represent the everyday world of monkeys and apes in captivity, but my dream world of primates. Meeting the vast variety of primates and encountering the generosity of the owners, anthropologists and keepers was the experience of a lifetime.”
Joseph Cruz constructs incredibly narrative, and romantic sculptures that which stem from his inspiration of the production and reception of information. They are physical representations of the intuitive questions of himself, and the world around him.