Since 2009,Tony Orrico has performed his Penwald drawings. Combining elements found in dance, theater and performance art, it explores repetitive movement for long periods of time, bringing drawing’s motion into peril with human physicality. The idea originates in finding a point when an act becomes more than just motor skills and crosses over into the creative process. In Tony’s case, this leaves an aesthetic mark on physical existence in the form of an abstract drawing.
After graduating with an MFA in Choreography from the University of Iowa, Tony joined Shen Wei and Trisha Brown Dance companies. As a principle, he performed in major cities around the globe, including Sydney Opera House. Both troupes known for an avant garde approach ensured that he was never far away from a serious art practice. When he was ready, this enabled him to use the experience he learned as a dancer and combine it with his passion for drawing. One of his first Penwald performances at Postmasters Gallery, NY in 2009, would set the stage for everything that followed. From there, he received an opportunity to perform at The National Academy Of Sciences in Washington DC, and was soon taking his “Penwald” series to venues worldwide. He was one of the few selected to reappropriate performances from Marina Ambramovic’s retrospective, “The Artist is present” at New York’s Museum Of Modern Art, an experience he was honored to have.
His newest project, CARBON, further investigates the relationship between material, body and movement. Again, testing the limits of physical, mental and creative capacity, Tony sleeps in a box of graphite broken off throughout the course of a day, from Mexican pottery bowls. The material is used as a metaphor for life and death. A few recent highlights include performances at The Metz-Pompidou, New Museum, BAM, and solo Exhibits at PPOW Gallery NY, MUAC Mexico and Shoshanna Wayne Gallery Los Angeles.
Melanie Bonajo’s work is stunning. Her work are like bizarre living effigies to household self-bondage via the bric-a-brac of every day life that so literally and metaphorically “tie us down.” On the one hand hilarious in their absurdity, and on the other depressing in their attempt to lay bare self, domesticity and the modern world, Bonajo’s works are impossible, sexual, beautiful and seductive. Her show opens this May 14th, at PPOW gallery.
Flickr user Harvezt imagines what the reverse side of iconic album covers would look like in their illustrative series, The Dark Side of the Covers. Taking famous works by Nirvana, David Bowie, The Beatles and more, the artist not only fills in the other half of well-known characters, but creates entire worlds with a sinister-esque twist.
Harvezt’s additions to these albums make them more well-rounded and conceptually rich. Our new, second viewpoint enhances the story. On Dio’s cover for Dream Evil, we see the original image has a demon making the devil horn with his hands as he peers into a sleeping child’s bedroom. Harvezt’s reverse illustration reveals the the demon being cheered on by a crowd of supporters sporting their own horns.
With all of the thoughtful details that the artist put into these works, they pay homage to these influential covers. Today’s digital downloads don’t always place an emphasis on album artwork, and makes Harvezt’s series a tribute to a time when people purchased physical copies of their music. (Via Metal Injection)
For her series AMMO, Sabine Pearlman documented a collection of World War II era ammo with some 900 images. The bullets are bisected to reveal its inner workings, like some kind of munitions autopsy. The simple compositions burn off the vaguely violent shroud that envelops the images of bullets and their symbolism. Instead, Pearlman presents the purely technical mechanisms of war, a reification of weaponary. The photographs reveal the surprising amount of innovation and craft dedicated to causing physical harm. [via]
According to photographer Ismael Moumin everyone has two sides to their personality. In his cleverly crafted collaged pictures he renders a kind of Dr Jekyll and Mr Hyde narrative. In portrait style pics he explores dual sensibilities. Some are traditionally made with happy/angry faces while others are left more open to interpretation. The flawless models are aesthetically pleasing to view and in some Moumin cuts parts of their faces to fit perfectly into another, thus making comment about the interchangeable definition of beauty. In one an Asian model is split with a Caucasian lady. Again a subtle reference to what appears on the outside might not necessarily coincide with what is on the inside. Then there are some where he erases the face altogether except for the silhouette and fills it with cosmic looking substances. These become scientific planetary like images which recall mood rings and heat sensitive substances which change at the touch.
Moumin makes his living as a professional photographer. He has done shoots for Rue Blanche, Cacharel, Sage, LESinrocks and Hero Magazine. He is represented by Frenzy Picture in Paris.(via Ineedaguide)
Ted Vasin illustrates an intensely surreal world for his viewers to get lost into. Combining his tight representational drawing skills with colorful abstract forms, Ted succeeds in both keeping us in awe of his draftsmanship, and a little disturbed through subject matter.
Artist Anna Barlow creates a kind of dessert that you would never want to eat –ice cream made out of ceramic! Although her work contains the same rich, juicy colors irresistibly drippings as ice cream does; the substance is not actually melting at all. It is constructed with ceramic and porcelain entirely by hand. She not only molds clay into scoops of this dairy treat, but also little cherries, candy hearts, ice cream cones, and even the occasional pillow being engulfed by the seeping dessert. Even more interesting, the artist also makes ceramic shoes that appear to be comprised of ice cream and flavored syrups swirling around the heel.
Barlow’s incredible skill in sculpting these delicious desserts combines with her perfect sense of color and glazing to create a finished piece that looks good enough to eat. The artist explains that she finds beauty in the drips of oozing ice cream and is fascinated by its natural transformation in shape due to its current state. It may be fluid with colors blending together on a hot day, or frozen into perfect form. The malleable nature of the substance is somewhat similar to clay. It can be manipulated and molded to a certain extent, but, unlike ice cream, clay can be fired into ceramic in order for it to hold a permanent shape. She unites ceramic and porcelain in order to achieve the right texture and coloring to portray these desserts.
“…the dry translucency of high fired porcelain suits the biscuit texture of wafers and ice cream cones, while the colourful liquidity of a silky opaque earthenware glaze is used to capture the quality of dripping ice cream.”