Simon Schubert creates an austere brand of hauntingly elegant forms that remind me of the creepy twin scenes from The Shining, minus the oceans of blood-bath (though somehow, is simltaneously implied.) They straddle the realms of design, human and esoteric form, at home either in some avant-garde London hotel for millionaires or some strange fun house carnival.
Artist Alessandro Lupi seems to capture ghosts in his eerie sculptures. Lupi begins with simple thread to create his artwork. He paints each strand one at a time with fluorescent paint. The threads are then arranged and lit with black lights. Lupi often arranges the thread in the form of a figure – a person that at once seems to inhabit a space and in the process of disappearing. He calls his work ‘Fluorescent Densities’. The designation alludes to the way he uses his medium to “investigate” and play with light and space.
Mario Ceroli is an Italian sculptor and stage designer. In series entitled La Vague and Maestrale Ceroli visually harnesses the power of crashing waves rendered out of finely sculpted glass and wood shards. Frozen in time, the waves instill a sense of infinite anticipation for the viewer. The thought of a massive glass wave continuing its curve and crashing to the floor is equally exciting as the translucent structures themselves.(via)
The team behind Atelier Ted Noten blend design and art so well, it can be difficult to unravel. They explore issues usually relegated to art such as violence, beauty, private and public life through design. Ice picks and cocaine are sunk into acrylic and transformed into designer bags. Perfume sprays down the barrel of a gun, its silencer concealing nail polish. The atelier’s design seems to at once celebrate and chastise high fashion’s excesses. Its bold design sensibility and irresistible ambiguity make their pieces difficult to turn aside from.
Andy Ainger creates eerie paper creatures. Even with his fun color palate, some of his creations still give me the heebie jeebies. Aiger works with simple materials, saying his interests lie in “craft based art,” and plays with accessible household items like paper, breakfast cereal, and possibly sealing foam?
Peter Opheim’s paintings could have easily gone into the decorative/cute realm but the paint handling and bizarre figurative abstractions keep these paintings fresh, unlabored, and playful.
J Swafford’s images start with the process of hand cut collage and end with a photograph. Swafford meticulously hand cuts detailed images out of magazines, history books and his own imagery and combines them in surreal combinations that are at once macabre and playful. He then photographs the collages as three dimensional objects giving the once flat collage a deep world to live, laugh, cry and at times die in.
British artist Tom Phillips released the first edition of A Humument in 1970. To create this stunning book, Phillips illustrated and/or collaged each page of a found Victorian text – WH Mallock’s A Human Document – leaving parts of the original text exposed and uncovering a new story line with a new protagonist named Bill Toge, whose name appears only when the word “together” or “altogether” appears in Mallock’s original text. Of the text and his project, Phillips says,”It is a forgotten Victorian novel found by chance …I plundered, mined, and undermined its text to make it yield the ghosts of other possible stories, scenes, poems, erotic incidents, and surrealist catastrophes which seemed to lurk within its wall of words. As I worked on it, I replaced the text I’d stripped away with visual images of all kinds. It began to tell and depict, among other memories, dreams, and reflections, the sad story of Bill Toge, one of love’s casualties.”
Over the years, Phillips has revised and replaced pages of the text, resulting in updated editions. The most recent 5th edition was published in 2012. In 2010, A Humument made its digital debut as an app for the iPad and iPhone. Assisting in its develop, Phillips is very pleased with his work’s transition to the digital realm. For Phillips, a bright screen enhances his illustrations, lending them a glow his pens and paints couldn’t achieve, “almost like church windows at times.” After Phillips started working on the book in the 60s, he dreamed that it could one day be used as an oracle. Forty years of technology later, Phillips’ dream has been realized, and he’s become his own consumer: “Each night after midnight I consult, somewhat furtively (even though alone), the Oracle I have made. I’m often surprised by pages made long ago and almost forgotten, as well as by the sometimes uncanny predictions they offer their maker.” (via the guardian)