We discovered Madeline Hagy and her boldly bizarre work on Format’s Spotlight page. Her portfolio elegantly displays her variety of work, from collages and illustrations to posters and prints. With her hallucinogenic forms and intriguing (and oft-grotesque) combinations of images, the clean and minimalist theme provided by the portfolio-building website Format is vital in showcasing the audacious complexity of Madeline’s work. With its fast-loading pages, Format is the perfect website for an artist’s portfolio, as you can scroll and view Madeline’s work without interruption. Another great feature that Format offers is the ability to sort work by category: you’ll notice you can view Madeline’s collages, sketchbook works, and prints separately.
Featured here are the works under the “collages” category, which provides an enticing sample of Madeline’s style and work. Among the images you’ll see a mash-up of recurring motifs, such as weeping eyes, raw meat, and deranged cartoon monsters. Adding to the series is a grotesque flavor of parody, mixing stylish, high fashion images with strange headwear, fleshless body parts, and googly eyes. In one way, Madeline’s work can be seen as a creative evolution of the magazine covers we disfigured with pens as children; going more in depth, we can read her collages as playful “dissections” that rearrange and distort magazine images to poke fun at the beauty industry. In either case, there is a lot to be seen and enjoyed on Madeline’s website, demonstrating that Format is the easiest way to make a portfolio that looks great and won’t distract from your work.
There is something wrong in Jason Murphy’s portraits. He illustrates people who appear to have a few screws loose. Their often asymmetrical faces dawn either a look of certain absence or of urgent excitement. This is all contrasted of course by his beautiful, delicate mark-making that which feels so light, and feathery.
Australian born and now London based artist Nick Sheehy illustrates awesome quirky, street art inspired scenes of fantastical hybrid characters. His work marries ideas from both aspects of low and high brow art; the playfulness and sort of dark humor moments of skeletons and overwhelming string that is reminiscent of veins (or, perhaps they are veins that are reminiscent of string?) winks to the aesthetic from both graffiti and comic book culture. Yet, there is a true classic beauty within each drawing, highlighting Sheehy’s talent and admiration for traditionalist draftsmanship. It is clear from his work that his attention to detail and disciplined drawing style has been developed from an intense labour of love, employing master technique and classic methods. Sheehy originally studied bronze sculpture “in the wilds of Tasmania,” (perhaps giving him the inspiration for such inventive animal-creature centered work!). He then “gave up on art only to re-discover his love for drawing whilst living in London.” Each of his pieces is unique to his practice and full of imagination, cleverness, and sophistication. Sheehy‘s work, he notes, “explores the dreamlike, sometimes semi-autobiographical scenes and oddball characters that echo from his childhood imagination.”
In 2007 and 2009, Mexico City-based artist Carlos Amorales created two huge installations, both entitled Black Cloud. The works positioned thousands of paper black moths on walls and atria, forming a swirl of darkness. Each moth was a replica of one of 36 different species. The end result of each work contains an overwhelming force that evokes biblical overtones. See more images of Black Cloud after the jump. (via)
Joel Galvin, or Ventral Is Golden (origin: late Middle English : from Latin venter, ventr- ‘belly’ + -al . Thanks Dictionary.) uses a plethora of different medium. Wonderfully, they all seem to correlate with each other. Perhaps it’s just how odd and familiar they are.
Eight months ago I bought my first house and renovated it, which meant my art collection was packed up in boxes and bubble wrap not to be seen for another 5 months. In the mean time, staring at the boring white walls in my house was literally driving me up a wall. And the second the dust settled, before even moving in the furniture, I installed every piece of art I owned in the new space. The art transformed the whole house, what felt soulless and sterile before was now filled with the chatter of all the different works of art telling their individual stories.
That got me to thinking about how important art is in making a house a home, and how everyone should be able to collect it. That’s how the the CLICK TO COLLECTproject was born. We wanted to give everyone a chance to collect our favorite artists and keep the prices to $500 or less…. Art Within Reach, if you will, ahem. Each week this month we will offer you 5-10 original hand-made works priced $500 or below through our CLICK TO COLLECT project. It’s our hope that by making these original works available at these prices, we’re helping our readers start or grow their very own collection that they will enjoy and treasure for years to come.
Paul Banks hasn’t left Interpol, but Julian Plenti‘s first solo project is now called Paul Banks. Confused? I was at first when I forgot that Julian Plenti… is Skyscraper, the record he released back in 2009 was actually Paul Banks. The single, Games for Days still rings loud in my head as if it was on Interpol’s first release, Turn on the Bright Lights which had me hooked from the first note. By the way, Interpol is about to release the 10th anniversary edition of Turn on the Bright Lights on Matador Records. Has it already been ten years? Anyway, Paul Banks’ new album Banks came out last month on Matador and is a must buy!
Tickets are still available via Ticketmaster for his show at the Fonda Theatre in Los Angeles next Wednesday, Dec. 5th and his show at New York’s Webster Hall on Dec. 14th (a make-up date due to Hurricane Sandy) before he heads to Europe next year. Check out his video for Young Again directed by Sophia Peer from his new album Banks and grab a ticket to one of his upcoming shows.
Enrique Marty’s grotesque sculptures are three-dimensional portraits based on molds taken from real people. They are a new form of sculpture, based on a recombination of aspects of puppets and statues, and on a deep understanding of the meaning of Western figurative sculpture. Being theatrical objects and sculptures at the same time, they serve as tools with which the artist can control the psychology of the viewer, and structure a show.