Today I was perusing the website of Proyectos Ultravioleta, a Guatemala based gallery, and found the work by Radames “Juni” Figueroa. Besides a sweet painting of a mustachiod Dracula rocking a cape and a Misfits shirt (dream babe, hello!) I found the above readymade installation. Lo and behold, I discovered a Beautiful/Decay apparel shirt we did with Rob Thom shirt we did from four years ago! Sweet! While we’ve since sold out of that shirt, Radames, if you’re listening, we did a re-make of the Bad Brains classic cover art work (now re-christened Decayed Brains) which is for sale on our online shop. If you care to make another installation work out of our T-shirts. Really great work….check out more after the jump!
Wyld File is a group of Flash animators creating work that’s pretty much in the same vein as Paper Rad‘s stuff. In fact they may very well be the same people, judging from the amount of times Paper Rad is referenced on Wyld File’s website. I think my favorite part of their gimmick is their parody (I think?) of Dogme 95, purporting that their brand of Flash animation is revolutionary and pushes Flash to its limits.
As Paper Rad puts it ,”A lot of cool shit was done in Flash, but there was never anything really that looked so funky that pushed Flash behond it limits, into an arena where the very tools of Flash have eaten themselves and caused a creative process to evolve against all the things Flash isn’t supposed to do.”
Paper Rap insists the loosely based value system “Dogman 99” consisting of the rules “no Wacom tablet, no scanning, pure RGB colors only, only fake tweening, as many alpha tricks as possible”…
Frederic Fluery lives and works in Dunkirk, France. His work remains playfull while dealing with zombies, human insides, and destruction. Fluery renders simplified characters in awkward situations.Like Daniel Clowes, his style slightly changes as his narratives shift. Frederic doesn’t hold on to a cast of characters for too long before switching gears which makes for an invigorating variety of characters and story lines.
Through the work of Ellie Coates the viewer is invited into the timeless world of story telling. Combining inspiration drawn from myths, folklore and Renaissance painting she creates the props with which to encourage the imagination of the viewer to weave the narrative. Through the well-known Greek Myth of Medusa the Gorgon Queen Ellie explores and adapts both the anatomy of this formidable character and that of the story surrounding her.
The work deals with entrapment, the female role in storytelling and the close relationship between the beast and the human. Whilst Ellie’s work addresses themes of entrapment it in turn provides the tools for escapism. The otherworldly and uncanny feel is made even more mysterious and mythical through her drawing and making process. The surface of the paper is laboriously prepared with layer upon layer of rabbit skin glue and gesso before graphite is applied with meticulous mark making to give an ethereal and luminescent quality.
Swedish illustrator Niklas Lundberg AKA Diftype creates dense digital collages that transport you to another world where everyone and everything is constantly changing, morphing, and manipulating. His alternate digital worlds are so convincing that I wonder if even his business cards shape shift once they exchange hands. Guess I’ll have to go to Sweden to find out.
So I’m in this VJ group called Collabo (Nice Combo, because the combos are oh-so-nice) and we’re going to be doing visuals for the whole night at the RERAX event tomorrow. Come check it out. An asinine flyer, for your reference below.
Photographer Richard Mosse has been capturing life in Eastern Congo for over 3 years. His work is a surreal representation of the beauty and tragedy in war and destruction. Using Kodak Aerochrome, a 16mm infrared film, originally designed for military reconnaissance, he depicts soldiers and landscapes in a sickly, hyper-real candyfloss pink.
The film registers chlorophyll in live vegetation and depicts the lush Congolese landscape in vibrant hues invisible to the human eye. His photographs are bizarre images of soldiers wearing camouflage uniforms in different shades of magenta, holding babies or guns.
His latest film project “The Enclave” is an attempt to make visible the invisible. Since 1998, over 5 million people have been killed from war-related causes in The Democratic Republic of Congo. Tackling an issue that is relatively unheard of, Mosse says in a recent interview with the British Journal of Photography:
“I wanted to export this technology to a harder situation, to up-end the generic conventions of calcified mass-media narratives and challenge the way we’re allowed to represent this forgotten conflict… I wanted to confront this military reconnaissance technology, to use it reflexively in order to question the ways in which war photography is constructed.”
The idea of The Impossible Image is central to his work. Both relating to capturing something usually unseen, and also working in an area of the world usually inaccessible to, and not documented by artists – that of war journalism.
By using this rare filming technique, Mosse challenges our very perception of war and violence. He is able to pick out a whole different side of military life, encouraging curiosity, and definitely empathy.