Thomas Pedersen Elkjaer works out of Copenhagen.
Shamus Clisset (aka, Fake Shamus) is a digital artist who uses 3D modeling software to construct bizarre and often humorous scenes that multiply reality and critique consumer culture. His work is featured in Beautiful/Decay’s Book 8: Strange Daze, a curated collection of talented artists who explore the realms of the uncanny: parallel universes, psychedelic dream states, supernatural activity, and more. Also included in the book is the work of Neil Krug, a photographer who drenches his shots in hallucinatory colors, bending time and reality to invoke the nostalgia and liberatory zeal of the 1960s. Andrea Wan, a Berlin-based artist, also brings her own flavor of absurdity to the book in the form of surreal illustrations of masked and multiple-headed beings. Strange Daze is ideal for those art lovers and dreamers who wish to challenge everyday banality by exploring alternative visions of the world.
We featured Clisset’s work in 2011, when he was making insane (and often violent) mashed-up universes of trash and cultural signifiers. Since then, Clisset has rebirthed his artistic identity as “Fake Shamus,” a “digital golem” formed out of 3D-rendered objects (Source). The shapes this humanoid beast can take are limitless; in one image he is a mystical being upholstered in grass who summons a collection of empty beer cans; in another he is an industrious builder, his muscular body made out of what appears to be lumps of brightly-colored Plasticine. And while Clisset’s works may appear to have photographic elements, do not be deceived; everything in his images is created in a digital, 3D space. By mimicking reality, Clisset brings up fascinating questions of “authenticity” versus “fakery,” unveiling in the process that the entire world is a strange construction subject to our perception.
B/D has been a fan of Barnaby Whitfield’s work since we featured him way back in issue X. We’re totally in love with his beautifully rendered and grotesquely exquisite pastels but were surprised to find that he is dabbling in the world of performance. Watch Barnaby’s performance as well as a informal roundtable discussion about the performance and his work in this video for the Douglas Kelley Show. Keep up the good work Barnaby!
Here’s one for all you typography nerds out there: Londoner graphic designer Sebastian Lester is a typographer, doing freelance work for clients such as GQ, Dell, and the New York Times. He seems to specialize in this sort of formal loopy script stuff, which I find quite impressive. If you like his work, you can buy high quality prints of some of his designs here, though it’d probably help to be British if you want to buy them, cause the exchange rate from dollars to pounds isn’t so good.
This video was a collaboration between Terri Timely Studios and PACT. Terri Timely is the awarding-winning directing duo of Ian Kibbey and Corey Creasy.
Sit Haiiro is an artist from the Netherlands whose monochromatic illustrations are slightly askew. The portraits of young kids and animals have a serious tone to them, and they’re obscured by slight planal shifts, digital elements, and mysterious clouds. There’s little context to Haiiro’s works, with his subjects devoid of background or environment. This gives an eerie and off-putting feeling to the hand-crafted images, and it’s as if they are out of a dream.
Haiiro’s characters are very active and full of energy. Dogs are running at full speed, a crow is in the midst of flight, and a child jumps as high as he can. But, every action is punctuated and falls short. Pixelation and thin lines fracture faces, bodies, and enthusiasm. There’s an obvious visual sparring between the two, and Haiiro describes it as, “where the calm surroundings provide more opportunity for decision making, rather than being driven by the fast moving winds of change.” (Via Inspiration Feed)
Guy Overfelt is a conceptual artist based in San Francisco. His work spans multiple mediums and defies easy classification. Whether it is fluorescent light fixtures in the shape of a pentagram mirrored into infinity or wallpaper made from re appropriated punk iconography his projects explore pop culture in a sardonic way. Car culture is another reoccurring theme in his work. One series utilizes a 1977 Pontiac Trans AM as a printmaking tool. Works are made by “burning out” over canvas and paper. These monographs resemble gloomy landscapes. Overfelt has even recreated the Trans AM using inflated nylon to comment on large scale manufacturing and our quest for the “American Dream”.