Eun-Ha Paek is a Seoul-born, Brooklyn-based artist who sculpts whimsical ceramic characters. Her creatures—which often resemble bears and dogs—are amorphous and cloud-like, sitting atop magical, candy-colored platforms. Each one is an eye-grabbing and thought-provoking fusion of childlike innocence and surrealism with a touch of menace; fanged mouths and disembodied hands gouge at the viewer from within the sculptures, blending nostalgia and unease together with the peculiarity of an ice-cream cone melting in an empty playground. There is also a humorous energy, which derives from the characters’ beady-eyed expressions as they stare at the viewer from their strange environments. Eun-Ha Paek’s about page further clarifies this interplay of emotions:
“The same way a boulder on a hill stores potential energy, a banana peel on the floor is the setup to a joke, storing potential ‘ha-has.’ The setup might cause a smirk, without any real action taking place. My work uses this potential to construct narratives on the precipice of the familiar and strange; to explore our inner workings of grief and hope with humor.” (Source)
Eun-Ha Paek’s unique style and creativity has received recognition around the globe. In addition to her sculptures, she creates animated films that have been screened at venues such as the Guggenheim Museum and the Sundance Film Festival. She has also been highlighted in The New York Times, G4 Tech TV, and Entertainment Weekly. Her work can be followed on her website, Instagram, and Vimeo page. (Via Sweet Station)
London photographer Juno Calypso’s self portraits as her alter ego “Joyce” are hilariously deadpan images of the artist as bored receptionist, unenthusiastic sexy girl in a cake, porno modeling agent, and deranged housewife looking for the next beauty miracle. The meticulously staged retro scenes are created perfectly with the artist posing with her signature blank stare that says “My life is exhausting and void of joy.” The result is an unsettling take on the extreme efforts that women go through to be everything from homemaker to career woman and the draining effects that it produces. (via feature shoot)
Calypso states about her work:
” I recently began working with self-portraiture, which led to the creation of a character named Joyce. Within elaborately staged large format photographs and videos I draw upon personal experience to perform critical studies into modern rituals of beauty and seduction. We find Joyce alone, consumed by artifice – trapped inside pastel-coloured encounters with beauty masks, cream cakes and polyester negligee; her glazed appearance acting as a mirror to the exhaustion felt whilst bearing the dead weight of constructed femininity.”
When I first saw Jennifer Sullivan’s work I didn’t like it. But after looking at it for a few days it’s slowly growing on me. At first glance the paintings may seem naive and referencing the late 90’s craze of “bad painting” but I think there are some interesting things going on in the work that deserve a closer look.
Join Mark Moore Gallery and Beautiful/Decay tonight for “Second Fridays” Summer Screening Series! Each screening will be a free evening of animated featurettes, music videos, reels and video excerpts hand-picked by MMG artists, plus live DJs, refreshments and food trucks.
For the first installment of “Second Fridays,” Mark Moore Gallery artist Allison Schulnik has curated eight short films that reflect or influence her own practice, including works by Suzann Pitt, Yuri Norstein and Bruce Bickford among others. Focusing on experimental animation – which she originally received her degree in – Schulnik has selected a combination of both clay, stop-motion and traditional cell animated videos.
pro snowboarder and filmmaker ANDREW HARDINGHAM is a fun-crazy-wild rider who likes to get weird… and I love it. This video is what I like to call as a bio on his life. From first discovering fire to boobs, Andrew went through some changes…
Reality and fantasy. Two concepts depicted in Shohei Otomo’s ballpoint drawings. Black and white illustrations blending traditions and the punk spirit of Japanese culture. Through the eyes of the artist, we are taken to the center of the effervescence, Tokyo.
Shohei Otomo unfolds the contradictions and the touching face of Tokyo to the rest of the world. He plays the role of a middle man, channeling key information to both parties, highlighting Japan as an isolated and singular country. He claims people have this clean image of Japanese people owning a calm and patient temper at work and in their personal lives. He is proving that reality is otherwise. His work is targeted to a global crowd. Yet the symbols he uses are meant to report the actuality to foreigners and to act as a satire for his Japanese audience.
His drawings consist of simple characters wearing traditional versus pop items. A girl is posing wearing a kimono with men and women gender symbols. She is wearing a wig decorated with a rose, a love sign, condoms and a mask. A policeman is smoking a joint through a bong. The drawings are hyper-realistic, hand drawn with a ball point. This simple method reveals the talent of the young artist who is also the son of Katsuhri Otomo, creator of Akira, the renown animated cyberpunk thriller movie. (via Booooooom).
Led by graphic designer and illustrator Jerome Castro, Hellofreaks is a graphic design studio based in Paris, France. I’m loving these twisted, almost grotesque illustrations juxtaposed with color palettes that basically put rainbows to shame.
Martin Hugo’s sketchbooks détourné the commercial imagery he encountered while designing corporate fashion in the “Empire State.” These books read as Hugo’s coping mechanism for trafficking in cultures he actively disdains. Using styles from esoteric hardcore music and quotidian visual culture, Hugo degrades and problematizes “high-brow” mainstays like the fashion industry, the contemporary art world, and our global plutocracy. But these minimal collages would be a bore if they were just well-designed, on-the-nose crits of capitalism’s look and effect; whether it’s through his deft rebranding of The Whitney (it rhymes), or by imploring us to “Support Our Predator Drones,” it’s Hugo’s gallows humor that makes them shine. He is able to look into the abyss of American culture and find the ha-has we need to get through the (last) day(s).