Canadian artist Erin Loree crafts luscious abstract paintings that have an incredible sense of light. The vibrant pictures feature incredible blues, magentas, yellows, and many more spread over a canvas. Loree varies her approach to texture, with some areas of smoothly-applied paint and others with short, thick brush strokes. They work together and form alluring artworks that resemble portraits and at times, landscapes.
Considering the scale of Loree’s strokes, the subjects that she’s painted seem to be captured at a close range. Large, sweeping lines form vague outlines of heads and shoulders, and with names like Energy body, it’s hard not to associate them with that. But, instead of giving us the an idea of what this physical body looks like, Loree uses gesture and intense hues to communicate an inner spirit or feeling. Some of her works appear as if they’re glowing from within – the essence of an intrinsic light that exists inside living beings.
Rebecca Manson sent me a text message not too long ago with an image of a unicycle she had just sculpted and an accompanying message that read, “Here’s a sneak peek, his name is Peter.” It was adorable and part of an exhibit she had created at CSULB. But then moments later my phone rang, “Daniel” she said in horror, “the main sculpture in my exhibit just broke.”
As the famous designer Miuccia Prada once said, “fashion is instant language” — if worn with intention, fashion can allow us to express our inner identities without having to say a word. But what if our clothing was so in tune with our emotional lives that it responded physically to external stimuli — like the approach of another person? Anouk Wipprecht, a Dutch designer known for her explorations at the intersections of fashion and technology, has created an animatronic dress that does just that. Named the “Spider Dress 2.0” (an updated version of the original Spider Dress), this curious tech-garment embraces the torso in a spider-like carapace, while eight spindly legs shift from the shoulders. Eerie and enchanting, this specially-engineered dress should be approached with caution and consent, as Hep Svadja explains for Make:
“[The] Spider Dress 2.0 […] is a mechatronic dress with an Intel Edison chip that uses biosignals and learned threat detection to defend the wearer’s personal space. Mechanical arms extend and retract as a response to external stimuli, making it a truly intuitive system. As people approach, the wearer’s own breath will help to signal the defense posture of the robotic arms. The speed of the approach will also feed into defensive behavior; approach quickly and the arms will aggressively posture, but approach in a leisurely fashion and the arms will gently greet you.” (Source)
Wipprecht is known for her other cutting-edge designs, such as a dress that allows you to vanish in a smoke screen, and another that becomes transparent as one’s heartbeat increases (such as during intimate, interpersonal encounters). The Spider Dress 2.0 is her newest (upgraded) creation, unique in its mimicry of animal behaviour, and infused with the power to visually display deep-set emotions and experiences without a reliance on verbal cues. Words, after all, are typically put through a mental filter before they come out of our mouths; the Spider Dress communicates directly from the body via internal biosignals. It interprets and visualizes inner phenomena that may not be immediately known to the wearer. In this way, Wipprecht’s work imagines a future wherein fashion could be used to physically extend the expressive capacities of human body language.
London based Stewart Gough’s high-tech sculptures look like a mixture between NASA space explorers, mad scientist chemistry labs, and futuristic war machines. However they are all built out of everyday materials such as plastic plates, pipe fittings, tape, nylon strings and other everyday materials you could get at your neighborhood hardware store. (via theeyestheysee)
Ryan Lake’s seamless blend of traditional and digital techniques create loose narratives of characters caught in a world of their own. My favorite works are his ongoing series series of images dealing with boredom in the suburbs which is a theme I can relate to. Being bored in the burbs was one of the main reasons I started Beautiful/Decay! If you like Ryan’s work make sure to pick up a copy of the Beautiful/Decay: Underdogs book which features Ryan’s work.
Through a series of provocative self-portraits rendered as paintings, photographs, and film, Andrea Mary Marshall examines the intersection of identity, female sexuality, and consumer culture in the context of the “ideal woman.”
“A Woman is a beast. She is as lovely as she is repulsive. She is one part demon and one part goddess…one part slave, one part muse…one part child and one part mother…these contradictions are what make a woman so intoxicating.” – Andrea Mary Marshall
Toxic Women is a narrative collection of work that looks at the implications of trying to live up to the cultural figment of the “ideal woman”. Through identity play that borders on performance, Marshall reinvents herself as highly developed characters meticulously crafted through the art of fashion, makeup, wigs, and props. For her series of “Vague Covers”, Marshall depicts the “toxic woman” as a dichotomy, born out of a pursuit of the ideal, simultaneously adored and rejected by society. There is the addict, the temptress, the woman with no boundaries, the self-saboteur, the perfectionist and the fame whore—archetypical toxic women Marshall has both encountered and embodied. Beginning with the “Vague Covers”, and carried out through the entire collection, the work explores the space where feelings for this toxic woman turn from infatuation to disgust, from attraction to repulsion. “We all have our demons. We can’t move into the light unless we’re willing to look at our darkness.” – Andrea Mary Marshall
Kris Knight’s portraits are presented in such a settled and graceful manner, yet underneath the surface of the subjects in question, he is able to portray various feelings of awe and mystery. Who are these characters who candidly stare back at the viewer? Such hidden emotions are portrayed through a muted color palette and calculated brushstrokes, giving the viewer plenty to look at, yet with a feeling of wanting to know more.