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Jon Boam’s Muted Sci-Fi Illustration

 

Jon Boam is an illustrator living and working in the UK. He works in a nice, muted palette which he applies in flat vectors to sci-fi line work. I especially like how repetitious some of his stuff is. It looks like he doesn’t easily become bored with drawing one robot after another. And I’m definitely not bored either. The comics influence in Boam’s work is fairly evident, but not heavy handed, which is always nice to see. Now you know what your work would look like if you never stopped doodling in your 3rd grade Arithmetic notes. 

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Johan Björkegren

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The work of Johan Björkegren feels like a fairy tale, with twists and turns. It’s what I pictured when I was 5 and holding the covers hearing stories. It is decrepid and pronounced, and can, at times, feel like a house that won’t stop squeaking. It feels loved and nurtured, but it doesn’t believe in purity or the idea of white.

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Jimmy Baker, Revisited

Jimmy Baker was featured on B/D in 2009 back when his work consisted mainly of realistically rendered portraits. Since then, his paintings have dramatically changed and, as of recently, moved away from direct representation – from photorealistic landscapes on slick resin coated surfaces from 2010-2011, to abstract figuration using oil and UV ink on canvas.

Baker draws from various contemporary media, mashing news, government conspiracies and political events with celebrity and social media dribble. His process of creating “synthesized content” is researched and extremely labor intensive; as described in an interview with Cincinnati Magazine:

“…you paint a rendering of a digitized sketch, then print a digital image over the painting, then paint the digital print that’s on top of the painting that is itself a version of the original digital image.”

His process sounds rigid, and induces one to envision a cold, obsessively constructed piece, but improvised, thick, painterly strokes contradict this notion.

The contents of the work appear identifiable in parts, but attempts to mentally construct from them a whole proves difficult due to the pieces’ alternating, detailed layers; the fleeting glimpse of recognition compels one to further inquiry.

Baker is represented by New Galerie in France and has exhibited at the Contemporary Arts Center in Cincinnati, Ohio.

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New Video by Sean Pecknold

A few months ago I had the pleasure of interviewing artist Sean Pecknold regarding his video work. He has a nostalgic, bittersweet charm to his works that evoke a feeling similar to discovering a sepia-toned portrait of your great grandparents and a dried rose from an undiscovered dusty cigar box in the attic. His animations often complement the music in strange ways, not creating direct narratives that “spell out” the lyrics of the song, but rather riff off the themes within the music in unexpected ways. He recently just completed a new video for Elvis Perkins in Dearland, a slowly sinking band presiding in a lit cave above a murky, watery world of ancient lion sculpture…haunting, beautiful and strange.

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“Broads, Boobs and Buckles: The Pinball Art of Dave Christensen”

Broads, Boobs and Buckles: The Pinball Art of Dave Christensen

Kristi Engle Gallery is proud to present its last show of the season, “Broads, Boobs and Buckles: The Pinball Art of Dave Christensen” on view from July 11th – August 8th, 2009.

While the mechanics of pinball were developed by engineers, the illustrations were handled by graphic artists. This work included the back glass and the playing field of each machine. Curated by local collector, Mark Andresen, this exhibition features the work of acclaimed pinball machine artist, Dave Christensen. 11 pinball machines will display Christensen’s graphics as well as the original artwork used in fabrication and drawings for proposed and/or rejected versions and prototypes.

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Camille Rose Garcia’s Dark Fantasy Paintings

 

 

If you don’t know about Camille Rose Garcia and her twisted fantasy worlds, now you know. The artist has been killin’ it for a while with dark mixed media paintings that are easy on the eyes the way the poisonous apple in Snow White tastes good- you know there’s something sinister at work here, but you can’t help yourself anyway. Garcia’s colorful works feature animals and pretty ladies, neither of which are innocent. Watch your back. More snaps after the jump, and check out her blog, which, if not updated regularly, is a nice window into what the artist’s thinking.

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The Green Guerilla Graffiti of Mosstika

New York City-based artists’ collective Mosstika cleverly reintroduces the jungle to the urban by covering ordinary steel and concrete surfaces with green, living graffiti made of real live grass and moss. The eco-minded, guerilla street artists primarily operate within New York City, the ultimate urban jungle. The collective is led by artist Edina Tokodi whose own Japanese Zen-inspired installations explore the interconnectedness of nature and the humanmade, inorganic world.

About its creations the collective says: “We believe that if everyone had a garden of their own to cultivate, we would have a much more balanced relation to our territories. It is with this notion in mind, that we at Mosstika, aim to collide the worlds of art and nature, creating havens of unexpected greenery, within the colder harsher environment. Together we aim to give green guerrilla tactics a new twist by creating works meant to be touched, in turn aiming to touch the souls of all that pass by. We strive to call back to mind a more playful existence, returning man to nature, even among the barren patches of urban existence.”
(via Visual News)

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Amy Friend’s Magical Re-Makes Of Vintage Photographs

amy_friend_beautiful_decay_02 amy_friend_beautiful_decay_06 amy_friend_beautiful_decay_03Canadian photographer, Amy Friend revisits the past and explores themes of memory and impermanence through the alteration and re-imagination of vintage photographs. The artist inserts a charming glow to the silhouettes of her subjects; the additions makes the images come to life, almost as if the aura of the deceased is alive. “By re-using lights”, she says “I return the subject of the photographs back to the light, while simultaneously bringing them forward.”

I employ materials and surroundings that are familiar to me using them as starting points for my investigations. These materials become the substance I use to inform the work I create. In my practice I tend to work within the medium of photography, however, I am not concerned with capturing a “concrete” reality. Instead, I aim to use photography as a medium that offers the possibility of exploring the relationship between what is visible and non-visible.

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