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)
Have you longed to be smart and solve conundrums like the mystery of time, space and light? But also drop out of high school, hit the juke box joint, thrust forward a double thumbs up and engage in a a semi-awkward/flamboyantly cool Kazotsky filled trademark dance like The Fonz? Well…now you can. Subscribe to Beautiful/Decay today.
LIKE KNOWS LIKE is an ongoing video series inspired by the globe community of artists now connected with social media. Created by award winning photographer Marije Kuiper and documentary filmmaker Bas Berkhout, the Amsterdam based duo has interviewed a variety of different artists from all over the world that they originally became acquainted with through social media. Watch the videos after the jump.
Lisa Alonzo’s sugary technique obscures a dark symbolic core. The images are beautiful and the technique is divine. In fact, the technique is a refinement of one of the high points of Modern painting, Pointillism, and Alonzo adds another, almost hysterical layer to Seurat’s Le Grande Jatte, by combining the beauty of Pointillism’s ballet of color with the designer frosting florets of a confectioner. According to the press release from Claire Oliver Gallery, that excess of beauty, when compared with the otherwise violent or mundane subjects, a hand grenade, a gun, a beer can, is a critique aimed at consumer desire. As a painter who has often struggled with acrylic painting, I was really impressed by the freshness of these paintings. You can see Lisa Alonzo’s new work at Claire Oliver until April 26th. Photos courtesy of Claire Oliver Gallery.
British artist Joseph Loughborough creates dark and grotesque , yet delicate and beautiful charcoal drawings that challenge and trigger existential questions and anxieties.
Loughborough’s trademarks an expressive, impulsive and honest style that strikes as vague at first; however, a closer look reveals deep and thoughtful technical decisions that render his concepts fairly well; his choices are simultaneously charming and intimidating.
Through his eerie,whimsical subjects, whose faces are usually deconstructed, Loughborough renders the grim side of human nature: sin, desire, fear and anxiety over one’s own absurdity.
I can understand why my work is considered dark but I have never really looked at it in this way. I have always intended it to be revealing, honest and expressive. Some of the pieces act like a personal exorcism through which I try to express, rather than deny, the emotions I encounter. Through my drawing, I strive to grasp a comprehension of the human condition and question how we interpret our oft-untold fears and desires.
Argentinian artist and architect Tomás Saraceno is internationally known for his visionary and surprising installations accessible to the public and able to modify the perception of architectural spaces. His oeuvre, inspired by the tradition of 20th-century utopian architecture, stems from the desire to create aerial structures that can be inhabited by people, are self-sufficient and have a low environmental impact.
At Hangar Bicocca Saraceno creates On Space Time Foam, an incredible floating structure composed of three levels of clear film that can be accessed by the public, inspired by the cubical configuration of the exhibition space. Functioning as the ultimate moon bounce, Saraceno’s piece floats participants high above the ground creating a surreal (and frightening) experience that gives the feel of weightlessness and flight without the hassle of going off into space. The work, whose development took months of planning and experimentation with a multidisciplinary team of architects and engineers, will then continue as an important project during a residency of the artist at the Massachusetts Institute of Technology – MIT in Cambridge (MA). (via)
Living matter thrives and dies within the intricate linework of Michigan-born artist Christina Mrozik. On large pieces of paper, she uses pen, ink, marker, and watercolor to compose semi-surreal visions of nature that are much different from the usual paintings of serene landscapes and friendly animals. Mrozik’s creatures bustle with a quiet ferocity: cranes perching on wolf carcasses split open with their progeny inside; owls flap wildly, trying to escape a rope of viscera that binds them to the roots below. Full of verdant symbolism, it somewhat resembles a twisted Garden of Eden, but it is important not to let the dark imagery overwhelm us; Mrozik’s vision of life-embracing-death (and vice versa) transcends existential horror, arriving at a depiction of nature that gives meaning to death and joins all living things in a greater life process.
The human perception of “nature” is central to Mrozik’s work. In her artist’s statement, she points out the seemingly contradictory “double perception” we have of nature: “it is either something to be glorified, or something to be dominated” (Source). We relish in its beauty and the idea of “untouched” lands, but we also wish to place ourselves above it, to separate ourselves, defining it as an “other” that can be controlled and exploited. Through her organic forms and the fusion of human and animal imagery, Mrozik’s art seeks to dissolve these imaginary boundaries, exemplifying how a sentience exists throughout all living things. As she concludes: “I feel that the basic stories of feeding, migration, shelter, mating, and self awareness are an essential part of our inner being and affect our view of the world both around us and within us.” (Source).
Photographer Lincoln Clarkes examines the street corners of Vancouver’s Downtown Eastside to expose moments in the lives of over 400 female heroin addicts over the course of five years.
It began when Clarkes took a photograph of his long-time friend, Leah, “shooting up” against the backdrop of a Calvin Klein billboard starring Kate Moss- and interesting juxtaposition indeed.
“Heroines” captures the bleak realities of female addicts within the city. Clarkes exposes the physical and emotional scars of women whom inhabited a space were death was always nearby. Although the images are disturbing in many levels, it is hard to ignore Clarkes’ attempt to make the women shine through a different kind of light, perhaps a positive one, where their vulnerability brings forth an unusual kind of beauty. The photos serves as a kind of a tableau vivant of unwitnessed experiences in the social history of the Vancouver city life. (via Huff Post Exposure)