Seattle based illustrator Stacey Rozich’s work is littered with vibrant tribal patterns and drawings based on folklore. She brings an animated, lively, modern perspective to stories of myth. Her pattern work and line work are nothing short of exhilarating, playing reference to southwestern art, and tribal marks.
Ryan Swanson digitally manipulates images to create neon-techno-funky-retro-futuristic collages. If you enjoy juxtaposition, take a look at his work.
From the illuminated, impressionistic water lilies of Monet, to the bright and disjointed abstract forms of Kandinsky, to the thick earthy tones of Van Gogh’s landscapes, most of us can recognize an artist’s signature style at a glance. But photographer Matthias Schaller shows us a new side of these things we may not have seen, or even thought about before. Since 2007, Schaller has been compiling a fascinating historical archive of the palettes, the pigments, the chaos (or order), and the thought patterns of some of the world’s most famous creative brains.
He has photographed over 200 palettes from around 70 painters from the 19th and 20th centuries and is displaying a selection for us to enjoy. His exhibition called Das Meisterstück (The Masterpiece) is on display alongside the Venice Biennale. Having blown up several of his photographs to be around six feet tall, Schaller invites other art-loving fans to enter the creative space of the masters with him. We can marvel at the tools that they used in the same way we are impressed by the final product. These photographs of their palettes easily become the new masterpieces.
Schaller started his fascination with looking ‘behind the scenes’ of an artist’s practice and reputation when he visited Cy Twombly’s studio in Gaeta, Italy. Spotting the painter’s palette, and finding it just as absorbing as the paintings themselves, he started a mission to seek out others.
He discovered dusky hues on the palette of John Singer Sargent, the synthetic vibrancy on that of Vincent van Gogh, the mottled splotches left by Paul Gaugin, the dense color field accumulated by Pierre Bonnard, and the overlapping disorder of rich colors left by Frida Kahlo. (Source)
See if you can match up the right artist to the right style and habits. It’s an interesting art history lesson!
Via Hyper Allergic
Olaf Breuning commissioned a series of coffins to be created by Ghanaian casket makers. The design of eccentric coffins actually has a long history and tradition in Ghana, so to some this work is actually not that peculiar. Still, it’s not every day you see a coffin in the shape of a melting popsicle. More images of the coffins and the process of making them after the jump.
Russian Artist Dimitri Tsykalov’s incredible Meat series is equally frightening and beautiful. Creating weapons, body armor, and other accessories of war and violence out of raw flesh, Tsykalov’s powerful photos put death front and center.
For Meat Tsykalov used over 150 kilos of fresh meat. He had to work rapidly because the meat had to be as fresh as possible in order to have optimal colour and texture. He sculpted his “meat weapons” at night and decorated his models with them in the morning.
The concept: ‘It is flesh holding meat to shoot flesh’. He brings rifles to life using dead meat, wielded by a human being, live flesh, that will, eventually, die, too. The idea of transience and mortality, that was already present in Skulls, is continued here. Tsykalov made Meat in the aftermath of the war in Iraq, but the series is not a reaction to that war as such. It is a reflection on man’s violence in general, devoid of melodrama and with a sense of humour. But it is not the humour that will strike the spectator most. The life-size prints of naked people holding ‘meat weapons’ make an aggressive first impression. It is only after a while that the poetry, aestheticism and even eroticism become visible. The photos are frontal and highly stylized, even though they may look raw: the clair-obscur lighting, the colour nuances and the texture of the meat and skin, a drop of blood slowly meandering down the body … the images make a lifelike impression, almost as if we can touch the bodies. Still, the uncanny feeling they arouse, is in the mind of the beholder, rather than in the images themselves. -Tamara Berghmans
Lately, we’ve seen shipping containers used as repurposed mobile shelters for the homeless. The sculpture featured here serves an arguably less practical purpose but is a nonetheless an inventive and impressive use of the limited space. It was created by designers Masakazu Shirane and Saya Miyazaki who created a massive kaleidoscope as part of the Kobe Biennial Art Container Contest. This competition challenged creatives to craft an environment within the confines of an international shipping container. Here, the participants installed this brilliant piece as one that people could walk into and immerse themselves in an experience.
A kaleidoscope generally consists of carefully-angled mirrors that change light, color, and shape as it’s shifted. While their installation followed this general principle, Shirane and Miyazaki wanted to build the world’s first zipper architecture. “We wanted to create the world’s first zipper architecture. In other words, this polyhedron is completely connected by zippers. And in order to facilitate even more radical change some of the surfaces open and close like windows,” explains Shirane. The structure needed to be light, soft and mobile, and they were able to accomplish it; their ingenuity paid off, too, and they won an award at the Kobe Biennial and more recently a CS Design Award. (Via Spoon and Tamago)
Adam Friedman celebrates the unchanging mystery of nature in his surreal, hybrid paintings that dissect landscapes from the real world. His newest body of work is bold in color and line, as he portrays scenes of glorious mountains and unwavering glaciers. His unique style depicts scenes of tremendous natural beauty, transformed them into something even more stunning. Plates of the earth seem to shift and glaciers are mirrored in a reversed world that Friedman so skillfully creates. The artist experiments and warps perspective in his paintings, like an M.C. Escher drawing toying with our mind. Sections of mountains are divided and manipulated into geometric patterns and shape that make you question exactly what it is you are looking at. Friedman describes his artwork’s intent.
“Millions of years are compacted into a single instant and rocks become fluid. I strive to present a moment that defies human intervention in the landscape, and pays homage to the potential in the inexplicable.”
Friedman explains that his work celebrates the unknown that the natural world possesses. Society attempts to explain, examine, and make sense of our environment, but there are some things we cannot understand. The beauty in the unknown can be felt in Friedman’s powerful series that radiates with intensity. Mirus Gallery in San Francisco, California currently has a solo exhibition of Friedman’s work on view until July 11th. If you have the chance to see this exhibition, titled Into the Aether, make sure to check out his compelling paintings in person.