In 2011, a woman named Erin Hart stole artist Jessamyn Lovell’s wallet, and eventually her identity, racking up credit card charges, parking tickets, and even a theft charge in Lovell’s name. As an act of retribution for this infuriating and frightening experience, Lovell created an art exhibition called “Dear Erin,” featuring documents, surveillance photos, videos, and interviews documenting Erin Hart’s crime spree. Hell hath no fury like a woman with a stolen identity.
“Using a camera and occupying the varied roles of victim, stalker, investigator, artist, spy, and vigilante, Lovell offers a body of work that touches on contemporary concerns of surveillance and selfhood within the information age.”
The thoroughness of “Dear Erin Hart” is impressive and somewhat alarming. In the attempt to “[understand] this woman and the course of events that brought their lives together,” Lovell hired a private investigator and even photographed Erin Hart being released from jail, a series of photos that are disturbingly stalker-like. The project was exhibited at SF Camerawork from September 3 – October 18, 2014.
Now, in a continuation of the project, Lovell hopes to contact Erin Hart in order to deliver a letter she’s written. She’s raising money for her trip (from Albuquerque, NM where Lovell lives to San Francisco, CA where Hart lives) through the sale of her own photos on Etsy and using a crowd funding campaign posted on her Facebook page.
“Lovell says that her hope is to reach out to her identity thief one more time in an attempt to get her most burning questions answered. Lovell also says that even if her attempt fails and Hart refuses to talk to her, she will at least know Hart knows of Lovell’s existence. She also hopes that Erin Hart will accept the invitation to allow Lovell to interview her and agree to be recorded.”
Erin Case stole Jessamyn Lovell’s identity, time, and peace of mind. Lovell, in relentlessly pursuing her thief, robs her of her anonymity.
It’s midnight, I can’t sleep, and the moon seems to be wiggling and moving in space. Hope it doesn’t fall down from the sky.
Premier website builder Made With Color and Beautiful/Decay have teamed up again to bring you exclusive artist features. We show you exciting artists and designers who use Made With Color to create a clean and modern website. But it doesn’t just help artists create a minimal, mobile-responsive website; Made With Color also allows them to do it in only a few minutes without have to know any coding. Today we’re presenting the work of Los Angeles artist Sherin Guirguis.
An explosion of colors and an intriguing set-up. The work of Sherin Guirguis blends geometric patterns, beams of vibrant shades and see-trough lattice patterns that are carved directly into the surface. Her work is inspired by her hybrid background as a non-Muslim woman born in Egypt and living in the U.S since the age of fourteen. Guirguis’ unique worldview brings together eastern and western references and harmonizes contradictory elements, both formal and social. Guirguis produces work that investigates the frictions between the contemporary and the traditional, the reductive and the ornamental. Her work engages both formal and social concerns by juxtaposing the reductive Western language of minimalist aesthetics with that of Eastern Arabic ornamentation.
For Australian photographer Sarah Bahbah, food and sex are intimately tied. Her series is called Sex and Takeout, and it’s exactly what it sounds. There’s nudity and canoodling, all with a greasy side of fries. Or pizza. Or, even Chinese takeout. Bahbah runs the gamut of meals while posting it on her Instagram, @raisebywolvesau.
Subjects are seen sharing meals, eating it while laying in bed, or looking post-coital with their food. And sometimes, takeout boxes are pushed to the side as people get down to business. It’s indulgent, visceral, and at times a little silly. But, above all, Sex and Takeout is strangely satisfying for the viewer/voyeur of these private moments. Food and sex conjure the same pleased feelings and pleasurable experiences, so it’s only natural that the two would be enjoyed in the company of one another. (Via Flavorwire and Design You Trust)
Fiber Arts have a longstanding history rooted in craft and tradition. Woven objects have tended to be functional or decorative, and often viewed more as the works of artisans, as opposed to artists. In the twentieth century this has begun to shift more, and in the 21st century the practice of weaving and knitting has been reclaimed and turned on its head by a number of artists that are forward thinking and highly skilled in their “craft.” Artists included here are: Olga de Amaral, Erin Riley, Olek, Ann Tilley and Andrea Sherrill Evans. It is important to note that historically weaving has been viewed as women’s work. All of the artists included in this post are women, yet appear to have adopted the practice of weaving and redefined it on their own terms, while becoming masters in the process.
Olek‘s work is an absolutely fantastical explosion of bright-textural fun. Often taking her work outside the white walls of galleries and into the streets, Olek has taken fibers to a place most thought impossible. Some of the works she has made recently include huge feats such as completely encasing the Wall Street Bull in neon crocheted and knitted camouflage pattern and re-adorning a whole locomotive in rainbow patterned softness- completely handwoven. Her work tends to encase and cover objects and people- creating whole installations, performance art costumes and beautiful sculptural objects in a sort of renegade demonstration of liberated punk-rock-quirk.
Some artists may use oil paint, acrylic, or watercolor as their medium of choice but Matthew Cusick chooses to create his ultra detailed imagery using the medium of maps. Cusick slices and dices maps of all sizes, colors, and regions to create fantastical images that take you down undiscovered routes and send you on an epic visual voyage. Lets hope you don’t need to stop and ask for directions?