Emily McDowell designs greeting cards for family and close friends of cancer patients. The messages are blunt and direct. As a former cancer patient herself now in remission, the designer got irritated when her close circle stop visiting and calling her because they didn’t know what to tell her.
She is making things simple by putting the right words on a sentiment which is most of the time sincere and honest but comes out awkward to the patient. Loneliness and solitude is, according to Emily McDowell the most difficult part of the illness to endure. Despite the loss of hair, fatigue and the heavy medical treatments, loosing friends and family members as a support system because they are having a hard time verbalizing encouragements and empathy is painful.
The illustrations on the cards are handmade by the designer herself. The pastel color scheme softens the message which can appear straightforward and cynical but which speaks truly to the patient. Emily McDowell believes these cards can make a difference in the way we communicate. In a digital world where motivational quotes are spread out through Instagram and Facebook, these make a difference because they are palpable and create a direct connection between the friends, family members and the receiver.
Find Emily McDowell’s ‘Empathy Cards’ on her eshop. (via Slate)
Just when you thought Banksy was the real trickster of the art world, along comes . . . Hanksy, the puntastic street fartist. His use of satire not only challenges the smug, but playfully subverts the current street art standard with a necessary dose of light antagonism.
Check out the video after the jump to see a short documentary about Hanksy’s mysterious persona: his meager “greeting card” beginnings and current mission statement, which centers on a dream of meeting Tom Hanks.
Artist Yoon Ji Seon crafts her collection of self-portraits by intricately stitching photographs with a sewing machine. It’s an ongoing series titled Rag Face, and her facial expressions change with every piece. While they appear to us as similar-looking individuals, Seon changes it up with different colors and hairstyles. Despite these idiosyncrasies, each portrait has the same features. Most notably, these are hanging threads that mimic hair or tattered rags. The multiple layers of colors and stitches give these works a painterly effect, as if they are gestural and loosely handled; Seon obscures her images by working with her materials in this way.
In 2015, the artist will have a show at the Yossi Milo Gallery in New York City. They describe the her underlying concepts:
By sewing the photograph, a second image is generated on the back that is both a reflection of the front and a completely new image. The two images, combined with the original photograph as a third representation, recall the Buddhist theory that an object exists in many forms and there is no true form. Yoon Ji Seon’s work addresses Buddhist ideology deeply rooted in contemporary Korean society and confronts issues such as plastic surgery and suppression of speech. (Via My Amp Goes to 11)
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.
Along with working as an editorial photographer, James Pearson – Howes also creates wonderful themed series of photographic documentations. I especially enjoyed his continuing series, British Folk which follows various people who take part in folk events that are held throughout Britain.
Kate Clements is artist whose primary focus is kiln-fired glass. These delicate icicly glass crowns are representative of many things: power, decadence, excess, and decorum, but the fragility of their forms undermine the seeming permanence of this status symbol. There’s something fanastical and menacing about these glass sculptures. The mythological associations one encounters upon regarding these crowns inspires a sense of wonder and magic, the consequences of which our old fairy tales can never seem to stop reminding us. Of her work, Clements says:
“I construct decorative, non-functional glass headdresses to initiate a new conversation about narcissistic female adornment. Throughout history the cultural construction of feminine identity has contributed to a persistent desire by women to transcend what nature has given them physically. I believe these gestures of transformation are made selfishly and with pleasure, in hopes to achieve a fantasy. The glass headdresses function as a separation between viewer and ‘wearer.’ This distance enables the ‘wearer’ to be transformed into the fantastical creature; however, this distance is only a counterfeit perfection.
I am interested in women’s attempts to fit popular cultural representation and how often this results in a suspension of their critical self-awareness. How women’s efforts to fulfill these representations can lead to feelings of guilt and the simultaneous assertion of individual power and the creation of a ‘feminine mystique.’ Finally I am interested in the adornments of the celebration of the ‘perfect’ woman. These celebrations can include beauty queens, exotic dancers, and ironically in it’s most extreme manifestation: the bride. ” (via my amp goes to 11)
Saul Bass (1920-1996) was a legendary American graphic designer and filmmaker. In 1980, twenty years after collaborating with Stanley Kubrick on storyboards for Spartacus, the two artists came together again to produce posters for The Shining. However, many drafts were needed before the recognizable, yellow one-sheet depicting a crazed, stippled face emerged into existence. Here, you will see four designs from Design Buddy and TOH, all of which Kubrick rejected, his reasons for each scrawled (somewhat harshly) in the margins. Bass’ cover letter and Kubrick’s response are also included.
Among the rejected designs are images of the maze and the hotel, which Kubrick deemed respectively as “too abstract” and “looks peculiar.” Bass also tried more interpretive approaches, such as a toppled tricycle lying eerily inside a hand, or the family of three crumbling into terrifying abstraction. Kubrick’s response was likewise as blunt: “too irrelevant,” “looks like science fiction film.” While Bass’ designs are skillfully done and represent genuine efforts to capture the essence of the groundbreaking psychological horror, most of us would probably agree that the final product — the face disintegrating into madness — suits the film best. (Via The Film Stage).