It’s hard to believe he shoots models and landscapes so differently. I can’t help but like it. Check out his portfolio online to see for yourself.
Sean Pecknold is a Seattle based artist who has created some incredibly poignant videos and animations. The video “White Winter Hymnal” for Fleet Foxes–a sort of time-turning-backwards retrogression via a magical crank — recently caught our eye here at B/D. Sean recently discussed that, as well his other works, inspiration, and process behind creating his magical shorts.
I love Paul Blow‘s witty and pithy illustrations (such as this obviously confused cat). His sense of humor relays a story without trying too hard. His illustrations have appeared in the likes of Business Week and the Boston Globe, giving him the opportunity to play around with popular culture and politics.
Lines from Keiichi Tanaami’s bio include: “experimenting with LSD,” “working in Andy Warhol’s factory,” “art directing Playboy,” and “depicting motifs from dreams and memories, such as an oversized goldfish, referring to his grandfather, who would kill them by squeezing them.”
How could I possibly say it better?
While this video could be mistaken for an orgy of Beautiful/Decay shirts, it’s actually awesomely thought up by James Sutton, 22 year old photographer. His work is beautifully colorful and ghetto-fabulous without being overly so. In his world, everything has a smooth finish and a sense of style. Jam is “inspired by pop culture, art & music, his work is a collision of colour and culture with a subtle hint of his love for surrealism.”
The Horror is the alias of Daniel Cantrell. Daniel Cantrell was born in Gubabubbahubba, a small town in the north of England. He began drawing at a young age but he has never improved. He has a Degree and a Masters in subjects too boring to even write. His drawings are usually about acceptance, violence, lust, fate and the dangers of dental hygiene. Cantrell also runs Good and Evil magazine.
Inspired by his southern memories American artist Wayne White intervenes directly on vintage landscape reproductions, penetrating and filling the vintage scenes with three-dimensional words and phrases. Provocative, ironic and sometimes humorous, his work explores cultural and social themes such as vanity, ego or pride.