Nicholas Bohac is a San Francisco based artist who works with printmaking methods and acrylic based media. His two-dimensional paintings and drawings are an investigation of human influence on nature, and natures influence on humans. Bohac has created his own version of a modern day landscape, encouraging his audience to think about the ecological climate and human stweardship.
Some nice illustrations in Paul Ryding’s studio
Kyle Thomas is wrapping up the last hundred or so covers. He’s taking his time with the last batch as we’ve had to have our loyal interns massage his hands back into working condition after the hundreds of hours that he’s already spent drawing each and every cover! If you didn’t subscribe make sure to do so as we have some more crazy ideas and schemes for the next issue that will blow you away. If you want one of these personalized copies visit our shop to get a copy before they sell out!
More covers after the jump!
For the artist Annette Thas, Barbie is a disturbingly bittersweet symbol of childhood nostalgia and longing; for installation piece “Wave I,” she uses between 3,000 and 5,000 barbie dolls to build a sculptural wave, re-appropriating the doll as a means of translating her earliest memories, scenes which now flood her after returning to Belgium to care for her ill sister. Her sister’s illness, she explains, was related to the childhood they shared, one that was marked in part by the death of her brother.
For the artist, the wave is meant to convey her own relationship to overwhelming memories; it is 4 meters wide and stands at 3 meters tall, forcing viewers to be encased completely within its depths. The piece seems to swell with cascading blond hair, forever caught at the terrifying moment before its breaking. Adding to its realism, Thas chose to exhibit it on the beach as part of 2014’s Sculpture by the Sea amidst the sounds and smells of real waves.
The barbies in the piece, wild hair tangled and stripped of their clothing, do indeed seem ominous, but they are also startlingly sympathetic. They are second-hand toys, once loved but eventually discarded. They have endured a sort of violence, having been scarred by knives and bite marks. Each one has a poignant narrative all her own; one doll simply bears the words “please love me” on her chest. The plastic toys, symbolic of the scores of children who once owned them, are somehow lonesome now, robbed of childhood’s affections. Their demanding presence is urgent and desperate, their blue eyed faces pressing us to remember both the magical and painful bits of our youths. (via Design Boom)
Black models dressed up in traditional Flemish costumes. Maxine Helfman takes photographs the way Old Masters would have portrayed high society in the 17th century. In this series called “Historical Correction”, the artist offers the option of a reverse history. She wants to create a past that never existed. Her purpose is to create a dialogue with the viewers.
Using the same white collars, hats and black tunics. Even the poses are similar, mostly directly looking into the camera, only portraits and a use of lighting which features the faces. She doesn’t use a frame in order to keep the focus on the portraits. Maxine Helfman confirms that she was very careful on how approaching this project. Being a white women herself, she didn’t want to create confusion around a sensible subject.
By creating fictional narratives, she gives another outlook on history and culture. She directs the issues of race by looking at a different society in another time. The photographs are an indirect testimony that race and class are nowhere to be parted. Using art as a mean to express an idea, to make a statement; her series is not to be looked at as a final fact. She opens the door to a discussion about race, equality and how these issues are dealt within their country, wherever the viewers are. “All of my projects begin with that concept….it is the conversation that is generated that is fascinating…..positive and negative”.
Both base jumpers and highliners gather in the Moab desert every fall to play with heights, but this year a 400 foot high hammock installation brought them closer than ever. The construction of this net, called the Mothership Space Net Penthouse, was headed by Andy Lewis and completed with the help of 50 base jumpers over a period of three days.
“Highliners attempted to walk across the five different legs of the net, varying in lengths up to 80 meters long (262 feet), BASE jumpers leapt daily from the human sized hole in the middle of the net and paragliders made several flybys while dropping world-class wingsuit pilots from high above so they could buzz by over groups of friends hanging out in space. This upgrade of size to the space net concept was a massive scale up from the 2012 three sided “Space Thong” design, which was also shared by both groups but with less cohesiveness.” (Excerpt from Source)
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!
These textural paintings by Erik Sommer are created using cement. Let’s hope he doesn’t have a twenty pound concrete business card too.