Ross Kemp Folds is a site dedicated to foldings of photos of award winning British actor Ross Kemp. Hundreds of users from around the world have submitted their own foldings, each outdoing the next. I can’t tell if the site is a tribute fan site to Ross or a very creative way to make fun of the actor but with over 360 user submissions the site has a plethora of inventive, playful,and downright laugh out loud foldings of Ross’s rotund head in every shape possible. Below are a few of my favorite foldings from the site.
Each image of What I Eat is accompanied by a detailed breakdown of the meals. The couple featured diverse profiles such as a Japanese sumo wrestler, a Maasai herdsman, an Arctic hunter, a Tibetan yak herder, and a Bangladeshi factor seamstress.
All of the diets, of course, vary by location and availability of food, but also profession. Shashi Kanth (pictured above), an AOL call center worker, relies on fast-food meals, candy bars, and coffee to keep him going throughout the long nights as he talks to Westerners about their technical issues. This stands in stark contrast to Bruce Hopkins (also pictured above), a Bondi Beach lifeguard in Sydney, New Whales, Australia. He eats moderately and hardly ever enjoys fast food or alcohol. (Via Amusing Planet)
This is just a small sampling of 500 drawings by San Francisco based artist Mitsu Okubo exploring sexual oddities and narratives. Mitsu has also put together a collection of the drawings into a book available for purchase through his site.
“Lilith v akcii / Lilith in Action” (2009). Soft sculpture, textile.
Vlasta Žáková is a Slovakian artist who uses fabric to create pictures and soft sculptures that quite literally “explode at the seams” with human emotion, experience, and desire. Her technique involves hand and machine sewing, and various materials are layered and embroidered into her works until they take on a painterly, three-dimensional effect. In addition to her textile “paintings,” Žáková also creates life-size human figures, which are realistic, surreal, humorous, and saddening all at once. Her sculptures include a woman crying alone in the corner, with red threads to indicate her tear-stained face; a man straddled by a nearly naked woman in a hallway, while a dog looks bizarrely on; and a headless body slumped against a wall, its knees split open and arms frayed off.
In both her pictures and sculptures, Žáková’s main inspiring influence is the party scene, and the types of intimacy and shattered states these events often result in — hence why her work consistently depicts despair, eroticism, and/or debauchery. In one particularly striking sculpture, Žáková took the image of a crowd of people, fused it together, and created a horrifyingly exuberant and multi-limbed creature. This work was presented at the Red Gallery (London) in a performance titled Ultraviolet Movement (2013). Combined with physical animation and UV lights, the soft sculpture embodies the darkness, hedonism, and semi-lucidity of a late-night party. The video Nocturne (embedded above), which Žáková made in collaboration with Jakub Gulyás (video) and Martina Vyskupová (performer) as part of an exhibition project in the Bunker of the Nitra Gallery, features this grotesque “puppet” as it takes on an eerie life of its own.
What is beautiful and provocative about Žáková’s work is that she has brilliantly infused her textile creations with their own emotional and erotic lives; many of us can probably relate to the states of disrepair and desire she expressively depicts. Visit Žáková’s website to see more of her work. You can read about her time at the Red Gallery here and here.
Los Angeles based photographer Tim Navis truly captures the colors of southern California in his portfolio of personal and commercial work. Add a bit of LA sunshine to your cold winter day after the jump.
These amazing lithograph prints are not only labor intensive and beautifully detailed, they are also playful and humorous. Artist Oddly Head has quite obviously spent a lot of time by himself cutting out images, arranging them into remarkable forms with funny narratives and transferring them into print. Working with mostly retro images, he cleverly fits his cut outs into a variety of silhouettes and shapes.
Taking advantage of their bright colors and pop aesthetic, Oddly Head creates eye-catching picture explosions. He turns a large collection of different guns into a radiating image, one that seems to be anthropomorphic and with it’s sights set on the viewer. In another print he has layered different cutouts of trains on top of each other, all rushing out from a black hole in the center of the picture, expressing some sort of urgency. Or in another, we see a gathering of women – all severed at the head and frozen in animated screams, focused on a woman in the center, as if she is the reason for their fear and horror.
With titles like ‘Hollywood’, ‘Licked’, ‘The Happiest Place On Earth When There Is No Tomorrow’, ‘Getting The Fuck Out Of Dodge’, Oddly Head’s prints are tinged with a cynicism as he questions the structure of systems around us. And what a beautiful way to do it. See more of his work in detail after the jump.
Ted Lawson’s figurative work actualizes difficult concepts of physical identity. His work both strips individuality from his subjects while simultaneously forcing character through implications of the viewer, and therefore, complicating the very meaning of identity.
For example, in his piece titled, Eve, referring to the bible’s first woman, he depicts the cycle of a mutating female figure based on her weight. In this work, Lawson juxtaposes bodies with hanging flesh riddled with cellulite against ones simply constructed of skin and bone. The piece forces the viewer to formulate his or her own opinion of which body is the correct body. Or rather, which body correlates to which type of identity. When reflecting on this piece, the viewer is faced with his or her own interpretations of the same woman. It is then that a more interesting question is posed; does this piece prove that physical appearance identifies who we are, or, does it question the importance of the body— is our physical appearance, perhaps, arbitrary to who we are? Is this woman not the same woman in each representation?
The same questions are raised in his piece The Death of Narrative. There we find a naked woman laying, as if posing for a Renaissance painting, perhaps a Venus. However, instead of being surrounded in objects, hues, and sentiments that would then create allegory, this figure is encompassed with a pastiche of plastic objects. She is not grounded in space or time. She has no history, no narrative, and therefore, no implemented meaning. When observing a subjectless subject, one cannot help but to create purpose; it is human nature to understand through vehicles of narrative and history. Thus, by placing a being in a certain trajectory of non-meaning (the artist describes his work as existential), meaning is then inevitably created due to the human brain’s need for association.
Ted Lawson’s work constantly plays with identity not only through narrative, but also through the its relation to art history. His titles are always referential, if not playful. Even in the means by which he makes his work, sculpting through digital technology, is a manipulation of the tradition of his medium. Lawson’s work is a contemporary interpretation of classic quandaries, however, perhaps his work poses more questions, rather than attempting to answer. (via Empty Kingdom)