Danielle Julian Norton’s art is slightly horrifying and absolutely fascinating in all its strangeness. Whether it’s a creepy Kubrick-like collaborative performance with fellow artist Tarrah Krajnak or a multi-tiered suspended installation created entirely of rice, glue, and monofilament, Norton’s style elegantly exposes the dark underbelly of weird as something quite shockingly recognizable and hypnotic. Her fantasy is not about the dream. It’s about us. How we are stuck in a twisted understanding of what an animal is or should be: the cruel psychology of our own distance from reality. The need for it. The ego of it. The horror of both.
Before everyone used the box that you’re reading this post on to create posters and prints there was a magical thing called Letterpress. It wasn’t the fastest method on earth to create beautiful typography but it sure was functional. Watch a quick how to video on how it was all done back in the day right after the jump!
Brian Willmont is a multi-talented creative. Along with his partner, Cody Hoyt, he spearheads Apenest, a design/art collective that self-produces collaborative silkscreens, graphics and a stunning full color book showcasing a stable of brilliant contemporary artists. Beautiful/Decay recently received a copy of their book and was blown away by the attention to design and the quality of the artists included. As an artist, Willmont also creates invididual work—his stunning works on paper detail an idiosyncratic personal vocabulary, often leaning towards fantastical situations, brightly colored in a hyperspectra of acid-induced prismatic color. Lurking beneath the enticing exterior, however, a darker, more apocalyptic narrative manifests itself; apparent in Willmont’s depiction of decaying architectural structures and implied destruction.
The technological wizards at Burton Inc. have developed a 3D laser display that can project images onto thin air. By focusing laser beams onto a single spot and firing the lasers in bursts of 100 times per second, images appear out of nowhere like 21st century pointillist magic. So far, the images are rudimentary, looking for the most part like simple sketches in .GIF form. But it’s still a fantastic advancement of the technology.
“This is the only device that can show text and pictures in mid-air, without using a screen,” says Akira Asano, Burton Inc.’s director and head researcher. The first and foremost application of the technology has been for emergency warnings — such as in a tsunami scenario — or as signals in pedestrian-heavy areas, such as at a crosswalk.
Not only does Burton Inc. hope to see this technology implemented in public spaces but also in people’s personal cars, thereby transforming even civilian vehicles into portable 3D displays. (via This Is Colossal)
Up for the Down Stroke is the title of a new exhibition of paintings by artist David Leggett.
Website builder Made With Color and Beautiful/Decay have teamed up this week to bring you an exclusive artist feature. Each week we join forces to showcase some of the most exciting artists and designers working today who use Made With Color to create their clean and sleek website. All Made With Color sites are responsive and come with a built in mobile site, which means that your portfolio looks beautiful no matter how it’s viewed. This week we are excited to present the sculptures and drawings of Colin Roberts.
The work of Los Angeles based artist Colin Roberts are based on the uncanny. Robert’s work consists of sculpture, drawings, and installation that deal with the subject of psychic fragility. At times grotesque (see flesh book above) or humorous (see obese wooden figure above), his work is an exploration of the human condition which employs the tactics of both surrealism and abject art. The work evokes familiar imagery and obscures it in uncanny and fantastical ways. By using lexicons common to everyday life, the pieces have the ability to cross significant cultural, social and psychic boundaries.
For her series The Absence of All Colors, the artist Ludmila Steckelberg creates a visual catalog of death; scouring her old family photo albums, she removes the photographic imprints of the dead, leaving blackened figures in their wake. Like fading recollections of face and features, these blank gaps— merely standing in for the deceased— leave an invisible mark on collective family memory. These old black and white images, now sepia-toned with age, are poignantly robbed of their power to immortalize and preserve those passed away. As with death itself, the act of removal, executed cleanly by the artist, is heartrendingly permanent and cannot be undone.
Steckelberg’s work is an unsetting exploration of the undeniable bond of photography and death. The photograph, though two-dimensional, suggests the three-dimensionality of life; here, the dead return to a state of two-dimensionality, receding from the aesthetic world of the living into an abstracted, flattened plane. The darkness they inhabit is utterly unimaginable to us, and yet they seem to be capable of observing us. In this shocking inversion, the viewer feels watched, gazed upon from the black depths. Pasted on one page of a family album, a removed couple faces into the opposite page, searching its blankness for an unknowable something.
Here, the living are left entirely alone, trapped within a space that once seemed full and vibrant, but is revealed to be merely an illusion by the artist’s careful cutting. Men and women look trapped within the borders of the deconstructed photograph, yearning to leap forth, to reconnect with those lost to darkness. (via Lensculture)
Ryan Kenny’s photos seem to be about quiet moments of youthful exploration. Like those days when the city just boils over and you head up to Ojai to catch your breath for an afternoon. You and your favorite people are driving through those oak trees and no one’s really talking but that’s how it needs to be. These images are like that–catching your breath.