Premier website builder Made With Color and Beautiful/Decay have teamed up again to bring you exclusive artist features. We show you exciting artists and designers who use Made With Color to create a clean and modern website. But it doesn’t just help artists create a minimal, mobile-responsive website; Made With Color also allows them to do it in only a few minutes without have to know any coding. Today, we’re sharing paintings by Brian Cooper.
In his series Empty Space Is Not Nothing, Cooper depicts soft-looking forms on a pitch-black background. They are strange, abstract shapes that have an air of originality about them, but seem familiar at the same time; the surface treatment resembles gridded paper that you’d find in a notebook, and the figures themselves droop like a mat or mattress that stood upright. We see excess and folds, which gives these paintings a visceral feel, and the viewer has an overwhelming desire to reach into the work and touch the imagined-malleable surface.
Cooper is both an artist and a musician – he performs under the name Earth Like Planets – who recently released a self-titled EP and has a show coming up at Ham and Eggs Tavern. If you’re in Los Angeles, it starts at 8PM on Saturday, November 8.
If you haven’t been hiding under a rock for the past few days (I know, everyone talking about hockey or basketball playoffs may make your reconsider) then you know that Los Angeles graffiti guru Revok was arrested on his way to Ireland from LAX and sentenced to 6 months in jail for vandalism within LA County. Since the news broke there has been an abundance of support pouring out from the community as well as close friend Askew 1. The New Zealand artist and director has decided that his recent Revok dedicated mural would be perfect to start selling prints of in benefit for his legal fund. Checkout the rest of the high res close ups and support by getting your exclusive print while they’re around, only about 100 left.
British artist Tim Lewis’Pony has an ostrich-like anatomy constructed from three mechanical arms, as athletically human as they are programmatically robotic. Like Jetsam, Pony appears as less animated object, more independent entity, moving across the floor towing an empty carriage, the ‘ostrich’ is autonomous rather than interactive. Born of mechanics in the same way that genetics engineers use science, Pony is a sculptural creature that is full of wonder with a creepy prehistoric robot feel. See more of Tim Lewis’ work after the jump.
Christine Gray’s paintings might seem playful at first, but a closer look reveals ominous mythical undertones. Woven dreamcatchers, desolate landscapes, and lightning in the sky… something else is definitely going here. Christine’s show “Into the Light” opens at Okay Mountain on January 14th, so go check it out!
Acrylic, cell vinyl, and spray paint on panel 20 5/8”x12”
Jason Redwood creates transmogrophic kalleidoscopic explosions of pop culture saturated lucid dreams. With a background in illustration and design, many of his images embody a vibrant, hard-edge pop aesthetic that could almost be digitally generated. In fact- Redwood sites the visual vernacular of advertising, web, television, billboards–the current day image glut–as being woven into his insane tapestries. Childhood memories, strange visions, and humor also play off each other in hypersectra, hypersaturated colors, into a “beautifully perverse mega-meal,” as Redwood describes them. His works are visual feasts of fancy, intensely seductive eye-candy that, if they were allowed to flash and vibrate on a moving screen, would probably induce seizures–but in a transcendant, ecstatic way.
Rebecca Ward lives and works in Brooklyn, NY. She uses miles of colored tape to transform white exhibition spaces into dynamic rooms with vibrant intersections. The nature of the medium results in a temporary transformation and adds to the importance of in-person viewing. From her bio: “Ward frequently works with tape installations whose primary concerns are colour and space. Tape adheres to the gallery’s ceilings, walls and floors converging with the architecture. This perceptual play of colour, texture and light is set into motion by the viewer’s interaction with the work.” (via)
Multihued translucent Plexiglas rectangles hang from the ceiling in Brad Troemel’s latest installation LIVE/WORK. They’re pleasingly abstract, reminiscent of sunsets and seashores, but look closer: each is a self-contained ant universe. The gel is edible for the ants, a commercial variant of NASA’s soil replacement, and as they tunnel and work they create patterns and movement in the art.
“Each team of ants is working on behalf of three not-for-profit organizations. The striped colors of the homes represent the colors of the not-for-profits’ logos. These organizations range from the Earth Liberation Front to Edward Snowden’s Legal Defense Fund to Planned Parenthood. At the end of this exhibition, each home’s piled up refuse from tunneling is weighed as a proxy for which team of ants did the most work digging. Whichever team’s displaced gel weighs the most wins the prize for their three organizations, splitting 10% of the proceeds from this exhibition three ways.”
The press release for the show is concerned mostly with the ants. “One must wonder – when will ant labor evolve to incorporate collaborative just-in-time tunnel building strategies, or even Fordist production lines?” It asks. “Are disruptive innovations even possible species-wide if made within isolated habitats? These are just some of the questions this generation of ants faces.” The questions are somewhat tongue-in-cheek, but they raise other issues. If Troemel is relying on the ants to produce constantly changing works of art, what happens to his installation if they stop working? What if they die? The three large blank checks hang on the wall opposite the ants, underlining the financial impetus of the show. Living insects+art=profit. It’s an unusual equation, but a surprisingly lovely one. (Via Lost at E Minor)