Matthew The Horse is an illustrator from across the pond. Check him out.
It’s Friday, you’re looking forward to the weekend, and you’re feeling a bit kooky. Is this what you do when the boss isn’t looking?
By Damon Stea.
Strainers are tools not often seen outside of the kitchen, much less in the art studio. However, artist Isaac Cordal puts them to use in a series of street installations titled Cement Bleak. For the series Cordal sculpts human faces into the mesh of the hand held strainers. The strainers are then inserted into the ground. Sunlight or streetlights pass through the strainers and project a shadow portrait onto the sidewalk. The nature of strainer’s mesh allows for a strangely realistic face from several angles of light.
Painter David Marc Grant‘s fantastical, somewhat neo-surrealist paintings on panel showcase a sophisticated sense of both color and composition. The layers of each piece seem to prop up the next, leaving plenty of corners and pockets for Grant to explore his interest in small detail and pattern. Although the compositions are mostly abstract collisions of geometric shapes and thick, viscous liquids—the artist positions the work as a mirror for the collapse of contemporary society. Grant’s inclination for abstraction disguises these artistic intentions in an attractive blend of quirkiness and color, leaving the viewer with a candy-coated version of dystopian landcape.
Brooklyn based artist, Erik Jones, paints vibrant portraits marrying the female nude with abstraction. His new series, In Colour, juxtaposes traditional figure painting with digital-grafitti-esque mark making. His work is simultaneously inviting and confrontational — we enter the picture plan via recognized moments of breasts, hair, and lips, yet, are then pushed away by bold 2-D elements floating through a seemingly 3-D space (or perhaps, is it the other way around?). His paintings are endless fun for the eye, constantly provoking the viewer to make sense of a nonsensical atmosphere. He states:
“The figures are used as an aesthetic anchor, holding the viewer’s attention to a recognizable form, while exploring colorful, nonrepresentational abstractions. In a way, the figures make the chaos palette-able. I wanted the graphic aesthetic to take on digital qualities and appear to be more naive and childlike in the approach. As if an inexperienced, non-artistic person were exploring a digital drawing program for the first time.”
The “digital drawing” effect mimics contemporary approaches to fashion prints and graphic design, giving off an editorial-like feel. While his work is very playful, it also feels precisely calculated and particular. Jones is able to create a hyper specific effect using a plethora of media, including; watercolor, colored pencil, acrylic, water-soluble wax pastel and water-soluble oil, making sure that each mark he makes is rendered the exact way he intends.
Pop culture and classic, fine art mashups aren’t anything new, but they nevertheless provided an interesting juxtaposition between the visual culture of then and now. Philippines-based multimedia producer Eisen Bernardo has created a series that places the covers of contemporary magazines like Vogue, Rolling Stone, and Vanity Fair. It’s appropriately titled Mag+Art.
Bernardo told Buzzfeed that he began the project because he felt that magazine covers were inspired by classical paintings. This is his way of comparing the aesthetics of the long ago as well as the present. What kind of clothing, hairstyles, poses, etc. are popular now? How has beauty changed or stayed the same. He poses the question, “Do we still see a naked woman as an object of art/beauty? Can the celebrities and models on magazine cover be considered as muses of the contemporary masters?” And, he hopes that these covers can be considered classic art. (Via The Huffington Post and Buzzfeed)
The work of Johan Björkegren feels like a fairy tale, with twists and turns. It’s what I pictured when I was 5 and holding the covers hearing stories. It is decrepid and pronounced, and can, at times, feel like a house that won’t stop squeaking. It feels loved and nurtured, but it doesn’t believe in purity or the idea of white.
Torafu Architects has installed an interactive haunted playhouse in the Museum of Contemporary Art in Tokyo. Paintings move, portrait eyes dart back and forth, and children climb through picture frames installed at the museum. A secret passageway exists within the installation, allowing children to interact with nearly all of the featured art, most of them re-creations of classic works. Museums and galleries are usually places reserved for more serious contemplative reflection, discouraging touching and interaction of any kind. Torafu Architects has transformed this perception, creating a space that encourages engagement and creativity. Be sure to check out our previous post about Torafu’s kid-friendly designer information kiosk here.