Markus Hofer creates sculptures that which holds plenty of narrative energy. I would believe it if you told me even his business cards held concept behind them. Markus intervenes on the structure of basic objects, and transform them to become the representations of an idea. Though they wouldn’t look too different from their original form, they are tweaked just enough to get the point across.
Painter of demons and all around good guy (and goofball) Skinner recently relaunched his website with literally hundreds of delicious and frighteningly good drawings, paintings, and illustrations. To celebrate the site launch Skinner also decided to make some hilarious videos talking smack, crossing out wack taggers, and telling ya’ll why he is the illest graffiti legend out there. Once you watch the full video after the jump you’ll be asking yourself “how come this guys not included in the Art In The Streets show at MOCA ?”
Combining elements of illustration, drawing, and digital media, Ryan Seaman‘s work has a lot movement and a lot of layers. Inspired by photography, painting and drawing, his design contains many elements of grunge, that he successfully combines with other media to create dynamic designs.
The work of Ryan De La Hoz exists in a very particular world, a world comprised of hauntingly nostalgic paper cut outs and drawings that look like a spooky cartoon reduced to the absolute minimum of expression. Delicate flowers, leaves and skeleton gloves contrast with gaping holes filled with dizzying Op-Art to create a landscape that seems like Tim Burton got together with Henri Matisse to make their own paradise. The works are so simplified they leave it up to viewers to project their own narrative on the scene. We each have our own idea of where each ladder leads, and what is hiding behind those geodes and mounds of slime. The compositions are mysteriously devoid of humans, yet laced with the shadows of human characters. The gloves of skeleton costumes pepper many of his works, as if to signify not only death, but a human representation of death. Another common symbol used by De La Hoz is the ladder, one loaded with symbolism. Ladders leaning into a spiraling abyss, or simply leading to no where, bring to mind the question of where are we going and where have we been. While De La Hoz does have the tendency to appear Halloween-ish, with his frequent use of pointed witches’ hats, cob webs, skeletons and blobby mounds with gaping mouths, the work transcends the threat of kitsch in its minimalism and precision. We are drawn to wonder about the age old truths, about death and what is left behind, and about what is hidden and what is revealed.
Christian Weber‘s photography definitely catches your attention. Whether it’s a screaming baboon or just a straight on portrait, his shots are memorable. My favorite is of the one and only Karl Lagerfeld.
Good design is supposed to make life easier. Ideally, it’s beautiful, intuitive, and useful. This can be said for things like Apple products, for instance, but the same doesn’t apply to Katerina Kamprani’sThe Uncomfortable project. The architect has applied the exact opposite principles to objects such as forks, watering cans, and rain boots. Instead of helping improve our lives, they make it harder but being oddly contorted, ill-placed, and out of the wrong materials. This includes hairy dishes, a cement umbrella, and steps that lead to nowhere (paired with a door you can’t enter).
Kamprani (also known as KK) ponders if these designs are vindictive, or perhaps a helpful study of everyday objects. Her goal was to make them uncomfortable (hence the name) but technically usable and to maintain the essence of the original item. While they aren’t totally unusable, they certainly won’t improve your life. (Via La Monda)
A digital arts/new media professor at The University Of Oregon, has found a clever, new way to recycle Styrofoam. He builds gigantic robots out of it. The robots are massive and according to artist Michael Salter, reflects the local streets he sees everyday. It’s not the livelier sections, but the mundane, plain parts which inspire him to create. It’s a bit hard to see the connection to this statement because there is nothing plain or boring about his Styrobots. Perhaps what the artist means is that they embrace quiet, domestic scenes reminiscent of these faceless places, which is true.
Exhibited in about 20 museums to date, the Styrobots can stand 16 inches to 22 feet high. Various displays have shown them upright, sitting, holding hands with a tiny friend, surrounded by a smaller group or headless and torn apart. The standing bots embody characteristics mirroring the lead character in The Iron Giant. For those not familiar, the animated movie centers around a giant war robot who crash lands in a small town and befriends a young boy. The Styrobots have the same gentle giant quality displayed in the movie.
Salter finds his material through donations. Styrofoam is primarily used for packing but can be utilized as pipe insulation and preventing roads from freezing over. The material itself, polystyrene is extremely flammable and carcinogenic. When lit, it has the capacity of releasing 57 different kinds of chemical by-products. (faithistorment)
Greedy Hen is a multi-disciplinary studio functioning partly as an art collective and partly as a design studio, housing the collaborative works of Katherine Brickman and Kate Mitchell. Working mainly with the music industry Greedy hen creates layered images with a classic vintage feel.
Greedy Hen is presented by the online printer, Next Day Flyers. Next Day Flyers offers rack card printing which is quite popular in the tourism marketing industry.