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Dooom’s portfolio of twisting and turning hands and geometric shapes.

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Liz Wolfe’s Flowers & Dead Animals

Some people just have a knack for color and Toronto based Liz Wolfe is one of those people. Here bold still life and photographs radiate with electric colors in every corner and her juxtaposition of gorgeous floral motifs with dead chickens, maggots, and flies is the perfect mix of the sweet and the grotesque.  (via feature shoot)

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Justin John Greene

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Sometimes artists, through the most simple of interventions, can do something that profoundly sums up how you feel. Justin John Greene has a whole portfolio of pretty goofy paintings, this one is my favorite. I wish I had made it. It was like in the sea of my mirthful misery, the clouds parted, this painting was delivered and elicited a fleeting moment of joy. Also, you can’t beat his ninja-turtle fort tipi replete with Ren & Stimpy dream catchers below. 

 

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Holton Rower’s Poured Paintings

I’m more interested in Holton Rower’s process of creating these abstract paintings than the final result. Sure the end result is beautiful but you’ll see what I mean once you watch the process video after the jump. It’s a simple technique that packs a lot of punch!

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Terrence Payne’s Narrative Paintings

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It is difficult not to imagine a narrative when seeing the work of Terrence Payne. The Minneapolis-based artist uses elements of design, iconography, typography, pattern and figure, all rendered in a decorative style and soft pallete but with subject matter that is anything but.  While the artist occasionally focuses on a central word or scrawled text behind the animals and repeating, archetypical figures, Payne’s paintings use loaded narratives that combine believable earnestness and well-intentioned antagonism.

To achieve the softness in the work, Payne first uses colored pencils to enhance the quality of light and jewel tones, then applies layers oil pastels which allows the the under-drawings show through. Payne says:

 “I want you (the viewer) to see the mechanism of it. The idea is just how can I reinforce the sense of this being artificial, that these people aren’t real. They are just representations of what I am thinking about

Terrence’s recent work has been concerned with “cataloging the human effects of trying to keep your head afloat in an increasingly polarized world of haves and have-nots” and “examining a person’s perceived place in society” and how that affects the way the work is perceived. This most recent work will be collected in an exhibition alongside Nick Howard (previously here) called Cake, at the artist-collective space Payne helped found, Rosalux Gallery in Northeast Minneapolis (which was named Twin Cities’ Best Gallery in 2013). Cake opens October 12th and runs through October 31st.

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Photographer Gives Roadkill Proper Burial Ceremonies

Fox, from the series At Rest

Owl, from the series At Rest

Pheasant, from the series At Rest

Emma Kisiel‘s series of photographs At Rest is as intriguing as it is simple.  Kisiel happens upon animals that have died, typically roadkill, and sparsely decorates the site.  Simply by placing stones and flowers around the carcass, Kisiel draws attention and returns a certain dignity to each animal.  Typically these animals are only seen from inside a car as it momentarily passes.  Kisiel says of her interaction with the animals in the series:

“They are happened upon, visited with, remembered, and left to return to nature.”  [via]

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Jennifer Maestre’s Prickly Pencil Creatures

We’ve all used hundreds of pencils in our lives since we were kids. Jennifer Maestre uses pencils too, but not the way most of us do, or even the ways most artists do. These imaginative creatures use pencils to showcase the contrast between lifelike forms and industrially produced materials. They were inspired by the texture of the sea urchin, which she has been exploring in many materials for several years.

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Jay. Sae Jung Oh’s Chair Sculptures Made Out Of Discarded Trash

Korean born and New York City based Jay Sae Jung Oh’s dynamic functional sculptures is made out of manufactured objects conspicuously transformed into unexpected new forms, making a strong statement about our current cultural condition of abundance. Sharp attention is focused on reconsideration of the ordinary. In this project, Jung Oh started by collecting discarded plastic objects, assembled them together, and finally wrapping them with a natural plant fiber (Jute). The transformation occurs in the amalgamated form and its concealment. Innovation, invention, and beauty can emerge from anywhere, even the most familiar, ordinary and everyday. (via)

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