Roberto Calbucci, an Italian en route to Toyko, is a graphic designer and artist. His website/blog is dedicated to his drawings, as he explains:I have been working as an artist (painter) and graphic designer for many years. and until recently I never started a website to show my work. Now I have decided to start displaying some drawings online…so I started a blog, where I don’t post my paintings or my (concrete) graphic design work (cds, packaging, magazine work, advertising, logos, etc./business)…BUT ONLY MY EXPERIMENTAL DRAWING AS RESEARCH OF THOUGHTS…”
Kim Dorland is a Toronto based painter who examines the psychic, nostalgic spaces of his upbringing in Canada through sumptuous impasto layers. At once playfully calling attention to their own physicality, as well as the nostalgia of Dorland’s personal narratives, the paintings are at once visceral and expansive. Beautiful/Decay recently interviewed Kim about his artistic inspirations, painting technique and more. Full interview and images after the jump!
The Slap, a totally fresh video by filmmaker Max Landis, is a clever response to the famous First Kiss video that went viral three months ago and has been making all of us go awwww up until now. Landis’ video features 40 randomly paired people in a fairly uncomfortable situation – the goal for them was to slap each other in the face. Even if it’s the first time they had met.
According to the author, none of the participants were pressured to do so and all of them were “hit as hard as THEY asked to be hit”. The beauty of this project lies in the contrast between a somewhat violent action of hitting other person and the intimate feeling the participants develop towards each other.
Though Landis really was aiming to mock the famous First Kiss video (which is obvious from the black and white color palette and similar upbeat music), he did go beyond just that. His explanation video called Point Of Impact explains the reasons for him to make “The Slap” in the first place.
“What is violence? It’s really just a label, isn’t it, if you let your mind go to a dark place. I decided to define violence as “non-consensual physical interference;” <…> What is trust? Do you trust someone not to hurt you? Are you even thinking about it? Do you care if they hurt you if you trust them? <…> The theory was: A slap, robbed of its violating context, is more intimate than a kiss. My theory, as it turned out, was right.”
Btw, did you notice the cherry on top? At 1:48, there’s Haley Joel Osment (yup, the kid from The Sixth Sense) being slapped straight into his lush beard.
This film is an intimate portrait of Mark Brookmire. He has lived a solitary life for the last 20 years in a cabin in the woods of Western New York. After Mark was diagnosed with terminal lung cancer and given three months to live, his daughter immediately sought to capture the spirit of her father as a poet, falconer and free-spirit in this deeply personal documentary. Watch the full documentary after the jump.
Living matter thrives and dies within the intricate linework of Michigan-born artist Christina Mrozik. On large pieces of paper, she uses pen, ink, marker, and watercolor to compose semi-surreal visions of nature that are much different from the usual paintings of serene landscapes and friendly animals. Mrozik’s creatures bustle with a quiet ferocity: cranes perching on wolf carcasses split open with their progeny inside; owls flap wildly, trying to escape a rope of viscera that binds them to the roots below. Full of verdant symbolism, it somewhat resembles a twisted Garden of Eden, but it is important not to let the dark imagery overwhelm us; Mrozik’s vision of life-embracing-death (and vice versa) transcends existential horror, arriving at a depiction of nature that gives meaning to death and joins all living things in a greater life process.
The human perception of “nature” is central to Mrozik’s work. In her artist’s statement, she points out the seemingly contradictory “double perception” we have of nature: “it is either something to be glorified, or something to be dominated” (Source). We relish in its beauty and the idea of “untouched” lands, but we also wish to place ourselves above it, to separate ourselves, defining it as an “other” that can be controlled and exploited. Through her organic forms and the fusion of human and animal imagery, Mrozik’s art seeks to dissolve these imaginary boundaries, exemplifying how a sentience exists throughout all living things. As she concludes: “I feel that the basic stories of feeding, migration, shelter, mating, and self awareness are an essential part of our inner being and affect our view of the world both around us and within us.” (Source).
Olivier Valsecchi is a photographer with an eye for transforming bodies into emotional landscapes of strength and despair. We featured his powerful I Am Dust project last February. The series featured here, entitled Drifting, takes a different approach to human architecture; instead of majestic, stately nudes, we see men and women reclining alone and in pairs, arching their backs against bare tables and chairs with a baroque-style melancholia. The darkness surrounding the figures highlights their pale expressions of death and defeat, lending the illuminated flesh a cadaverous-yet-living quality. The series statement elaborates further on this bodily ambiguity:
“Straying the audience from their grounds of certainty, Valsecchi induces an unsettling doubt on whether his subjects are falling apart or withstanding paralysis. He investigates this tenuous and brooding space between inertia and the urge to go somewhere. His bodies appear to have been submitted to an exorcism, an epileptic trance, or a mutilation akin to a reptile being cut in two pieces — and yet still crawling.”
Drifting also channels the art tradition of still life. Posed to capture the wordless throes of pain and despair, the figures’ perfect configurations make them portraits of emotion. Speaking to the use of the genre, Valsecchi writes: “Still-life was the perfect fit for a post-war atmosphere. Beyond symbolizing the ephemeral nature of life, it relates to the notion of transitioning. I wanted to set bodies into an unfamiliar environment and infuse them with a feeling of disorientation, as if recovering from trauma or stuck in a vertigo.” Despite their static postures of grief and submission, Valsecchi’s tragic nudes tremble on the verge of healing, embodying and enduring the darkness so that they can overcome it.
“After Effects” is a “series of architectural scale models” by Italian artist/designer Daniel DelNero. The models are “constructed with black paper covered with flour and a layer of mold to create the effect of old abandoned buildings.”
My purpose is to talk about the sense of time and destiny of the planet after the human species through the sense of restlessness which abandoned buildings are able to communicate.
First of all, I’m seeing at least four different colors of mold going on with these. That variety alone is impressive. And his positioning and construction of the work is right where it needs to be. See more miniature, decayed urban scenery after the jump. (via)