Joana Avillez is a radical comic book drawing machine from Manhattan, NYC. Her work exists in a universe all her own where old timey cartoons wear Geta shoes and one-of-a-kind hats, while reading old issues of Heavy Metal and Raw, over a nice hot bowl of asian soup. Buy copies of her most recent book “Life Dressing: The Idiosyncratic Fashionistas” here.
I’m absolutely loving these photorealistic paintings by Audrey Flack from the 1970’s. The paintings saturated color patterns scream 1970’s with its over the top disco sparkles all over and it’s kitschy psychedelic tendencies.
This Thanksgiving, let us be grateful for the delicious imagery of “the master of voluptuousness” Jonny Negron. Not since Tom of Finland have I witnessed this caliber of graphic plumpness, and once your eyes fall upon these beauties you’ll be hooked. I really wish those two dudes could collaborate, unfortunately Tom of Finland is dead, but luckily, Negron and Jesse Balmer collaborate often, yielding plenty of awesome finishes. You can catch both of these men in CHAMELEON and DEMON GOD GOBLIN HEAVEN, and after that check out Jonny while he flicks, tumbles, and sells wonderful shit at these hyperlinks. Do enjoy.
This week we’re bringing you another talented artist as part of our partnership with premiere website building platform Made With Color. Each Tuesday we bring you some of the most exciting artists and designers working today who are using Made With Color to create clean and sleek websites. Made With Color sites aren’t just easy on the eyes but feature powerful yet simple backend which allows anyone to create a professional site with just a few clicks.This week we are excited to share the colorful and magical work of London based painter Super Future Kid.
Welcome to the fantastical world of Super Future Kid, where scale constantly shifts, pet kittens fly through space, My Little Pony’s are battle ready, and cotton candy and ice cream cover the ground. SFK’s paintings depict a flourescent hued world where childhood and adolescence merge, forming a state of wonder, surprise and uncertainty; where the past blends with the future.
Using the sensual quality of paint, Super Future Kid melts things together, arranging and replacing realities, thrusting invisible matters into a physical being which folds and unfolds upon itself between the second and third dimension.
The result is a hot pink and sprinkled covered galaxy full of wonder where the viewer is drawn in by feelings of strangeness, suspense and the excitement of exploring a new world -just like drifting into a vivid dream.
If you’re local to, or find yourself in New York City during January, head to Times Square to witness artist Sebastian Errazuriz’s site-specific installation. Titled A Pause in the City that Never Sleeps, it’s a black-and-white video featuring the artist slowly yawning multiple times throughout its 11:57PM to midnight timeslot. There isn’t any fancy editing or motion graphics in Errazuriz’s video – it’s just him that dominates approximately 50 electronic billboards that are central to the city’s hustle and bustle.
If you’ve ever visited Times Square, or even just seen pictures of it, you know that it’s a crowded frenzy nearly all times of day. There are hoards of people, bright lights, colors, and jumbo-sized advertisements that are on a continuous loop. Errazuriz’s moment-of-zen video stands in stark contrast to what we’re normally used to seeing. It’s unhurried, hypnotic, and contagious. Visitors might feel the urge to yawn after watching it.
About the project, Errazuiz says, “I hope that the video can offer a brief moment of pause that can remind us of our urgent necessity for free space and time that can allow us to recover a stronger sense of awareness. (…) I am yawning at everything and all of us; we need to wake up.”
Find A Pause in the City that Never Sleeps from 42nd to 47th streets between Broadway and 7th Avenue until January 31. (Via designboom)
The strength of the portraiture tradition, and what separates it from documentary photography, lies in the skill of the photographer to attach meaning and the essence of the person in a simple image. Using metaphor, subtlety, and open-ended but vaguely familiar narrative, photographer Shelly Mosman is able to imbue an intensely personal and soft-spoken beauty to her photographs. Drawn to subjects for reasons she says she often cannot immediately describe, Mosman spends a great deal of time with her subjects, waiting for key moments when their personality is revealed through action, or the subtlest of looks or gestures. “Portraiture relies on the smallest mannerisms and expressions to offer narrative,” saysMosman, “I rely on the spontaneity of circumstance.”
The Minneapolis-based portraitist continues:
“In my photographs I negotiate and characterize the balance between my own vision and the unknown and often powerful potential given by each portraitâ€™s subject. I am drawn to certain people for the simple reason that I know shooting them will give me an image I could never have created on my own, and because my camera can reveal something they may not have known was in themselves. Â It becomes a synthesis of us both, captured in a single photograph. These connections with each subject areÂ often too straightforward and immediate to be conscious, but rather they are something that is felt immediately, coming straight from the gut, which is the home of our instincts.”
Tatiana Blass built a human body that leans over the spine of a chair. She built this body out of wax and gave it a spotlight to shine; however, its glow not only illuminated, but also curdled the figure’s shape with heat. Arms broke off and bone emerged. Soon the body itself was only spine.
Spine against spine.
On another day, at another location or time, Blass built another body, a lying down one. The heat was not on the back, but instead rising from below. The body melted and there was no bone. Only a puddle of wax, something similar to where the body began.
The dissolution is the performance, the performer is the object: it moves to mirror our horror, to show its aliveness: our aliveness.
This concept of sculpture as a temporary structure feels relative to Urs Fischer’s own monolithic candlelit figures which also weaken over time. Both generate a sense of narrative that we relate to instantly– feelings of loss or devastation amidst chaos. Ashes to ashes. Dust to dust. Wax to wax. What slips through our fingers: a certain temperature from day to day. We cannot gauge. An inevitable ritual.
The music must come to an end, and it does, especially for Blass’s other installation (video above), as Thiago Curry pounds five easy pieces on the keys, while two men pour melted paraffin into the grand piano.
I love patterns, and I definitely get my fill through Daniel Brereton’s work. We are featuring yet another renaissance man who not only exhibits his lively work in galleries, but also works in music videos, apparel design, and etc.