I was first put off by Esther Stocker’s wall works, immediately categorizing it as an evolution of those tired string installation made by anonymous hipsters. But after looking at a few more images, and exploring her site, the 3-D graphs started to grow on me. Stocker’s simple use of black gaffer tape and foam core pulls from scientific imagery and successfully transforms space into a fantastic alternate reality where perceptions are shifted. Stocker’s work demonstrates a fascination with human perception and cognition, and judging by the title, “What I don’t Know About Space”, she doesn’t claim to understand how it all works, which is a refreshing to hear from an artist.
Stockholm-based Anders Krisár is interested in exploring issues surrounding the human body. Employing realistic casts of body parts Krisár then modifies them. He imbues typical torsos, arms or faces with atypical assets and surreal qualities that are at once quiet and horrific, striking and bizarre.
Evoking a sense of how fragile the human body is, Krisár’s forms stir up feelings of discomfort. Unnatural, ridiculous and sometimes even violent, the sculptures are so successfully disturbing because they are so meticulously executed. Rendered exactly and simply—skin looks like skin, body parts almost appear to be moving and breathing— Krisár’s works are convincing. But at second glance there is always something distinctly wrong. Torsos are freakishly imprinted, headless or morphed. Bodies are severed, separated or broken. Krisár’s works thus become visual representations of the unfeasible. This un-reality gives the pieces a psychological edge.
Beyond the challenge of confronting the bizarre so perfectly portrayed Krisár incorporates ideas of splitting, mirroring and twinning, which are frequent themes in psychoanalysis. Erie yet captivating this psychological aspect gives Krisár’s work the ability to be emotional. Though the work has a quiet quality, its effects are powerful. A viewer’s sense of certainty is challenged and replaced with insecurity, question and an overall awareness that what we know only scratches the surface of what is possible.
Some people can ooze out style every time they pick up a pencil or pen. Tim Head is one of those people. His beautiful illustrations of odd fellows, demented chicks, and fast cars have pounds of style yet look effortless. If art making was an easy breezy vacation in Hawaii then Tim would be the big kahuna.
Typographer and illustrator Alex Varanese combines 3d techniques with traditional print design techniques in circuit bent type series of illustrations. I like the consistent and specific use of red in all of Alex’s work. Im not sure what you would call the shade but it’s an iconic palate that’s modern and vintage at the same time. Alex also has a nice array of custom type on his site. More images after the jump.
Aquadettes is a fun short documentary that looks at the life of Margo Bouer who is seventy five years old and is part of a senior Synchronized swimming team for over 15 years. Watch the full documentary after the jump.
Feast your eyes on Chris Burnside‘s exquisite cut/panel pieces. At first glance, his lines seem to be painted with black acrylic. However, upon closer inspection, you will find that these lines are actually tiny cracks formed via Burnside’s unique breaking-apart-and-reassembling process. It’s like piecing together an aesthetically pleasing, super abstract puzzle with colors highly reminiscent of graffiti.
Stephen Aldrich carefully cuts woodcut prints, steel engravings, and other printed epehemra from the Victorian Age to create these sardonically surreal new vistas of the era. Yes, Garret, I like this because it’s Victorian!
He will be showing his work at NYC’s Foley Gallery from September 9- October 23.