Michael Kelly and Johnny Kelly are two brothers from Dublin, Ireland who work separately and sometimes together also. Michael lives and works in Tralee, Ireland, while Johnny is based out of London, UK. Micheal’s photographs are beautifully saturated images, that posses a feeling of nostalgia and modernity. Johnny is an illustrator, with a love for the paper arts, his piece “Don’t Panic”, as shown above, is a great example of his amazing use of color and shape.
British Artist Andy Goldsworthy is a master of ephemeral work, capturing the beauty of nature and tempering it with the fleeting nature of all organic things. Each one of his works is a collaboration with nature, and with each piece he strives to gain a closer understand of nature through these intimate interactions. Using his hands and “found tools,” Goldsworthy’s work is a celebration of the world outside the buildings that humans spend their lives inside. His photographs capture the sculpture moments after they are complete, afterwards the sculptures live on changing with the wind, rain and elements until it ceases to exist as Goldsworthy shaped it.
Such is the nature of the Woolly Pocket. Woolly Pocket allows the urban dweller to manipulate nature and incorporate plants into formerly inhospitable territory. Woolly Pocket can take over a wall, fence, living room or any structure and make you the sculptor of your surroundings. Our favorite aspect of Woolly Pocket is their Woolly School Gardens project that connect schools looking to start a garden with community members looking to support their efforts. Help kids get their hands dirty by visiting Wolly School Garden and find a school near you to sponsor.
Zutto is an illustrator and designer based in Russia. The imaginative worlds she creates are quite spectacular, so check it out.
Encased in white-framed boxes are Crystal Wagner’s intricate cut paper sculptures. Like specimens meant for studying, parts of textured tentacles and honeycomb-esque patterns wrap around themselves as well as non-representational wavy shapes. Wagner’s work is meticulous, and each scalloped edge has its own slightly-curled edge. It’s reminiscent of a dragon or a reptile, but not one that we’ve ever seen before. The vibrant colors feature jewel-toned gradients that push her sculptures from quasi-reality into full-blown fantasy.
These works first made their appearance at the Hashimoto Contemporary gallery in San Francisco in 2014. Her exhibition was titled Synesthesia, and the intention was to explore the psychological realm between the familiar and strange. The gallery writes, “…combining screen printing, cut paper and various dollar store items, Wagner meticulously assembles her sculptures with a sense of organic growth. Allowing her materials to build upon themselves, layer by layer, each structure swells into a mass of movement, as if grown from the soil of another planet.”
If you’re a fan of Wagner’s work, check out her large-scale, site specific installations.
Sure to put some bees in the anarcho-primitivist bonnet, I’d wager that mass urbanization is one of the prime inevitabilities of the twenty-first century. Obviously, the emergence of the megacity will have a serious environmental impact. But consider the psychological impact as well. What does it mean to be isolated–or to simply find a place to be alone–when we’re all sardined together? Through a combination of chance shots and staged photographs, photographer Eric Perriard examines this idea of private space within urban landscape of Seoul, a city spread over a mere 0.6 percent of South Korea’s land, yet crammed with nearly a quarter of the country’s population.
Calling all creatives and designers- Beautiful/Decay launches its first t-shirt design competition!
Macabre artist Jonathan Monaghan creates digital sculptures, prints, and animations that definitely puts us in a sense of discomfort. His clean, almost sterile use of style in detail, color, and light is both beautiful and extremely uncomfortable.
Igor Eskinja’s simplistic installations are elegant and optical illusory. Using basic and inexpensive materials such as tape, wires, and cords, Eskinja practices his art with precise measurements and an architectural eye. His work straddles the transition between 2D and 3D perception. He thoughtfully uses the space of the wall and floor of his installations, requiring viewers to stand at a particular angle in order to experience the effect given in these photos. The simplicity of his form and the perception between what is visible and not introduce space for interpretation and meaning. Oftentimes, after the installation is over, the work is thrown out due to the instability of his work, drawing attention to the impermanence of the forms he creates.