AKA, the summation of my love affair with the internet. I saw this site on Rhizome.org 6 months ago, truly loved it for a day, forgot about it for a little bit, then wasn’t able to find it again and instantly regretted it (I remembered it as “MATHLAB” instead of “MATHWRATH”). Fortunately I was able to reunite with it yesterday when I saw it on VVork. I feel as if a part of my life has come full circle…
Michelle Hinebrook’s paintings bring together op-art, hard edge painting, geometric patterns, and psychedelic imagery to create explosive and densely layered abstractions.
Australian artist Buff Diss brings an interesting medium to the spray paint dominated world of street art: tape. Intricately cut and stuck, Buff Diss’ often large scale pieces can be astoundingly complex. Some of his work intentionally interacts, even plays with the surrounding environment. At other times his work seems to reference classical sculpture and painting. However, he consistently works in this peculiar medium. Regarding the reasons for using tape in his process he says:
“The functional or practical nature of tape is one of its best aspects as a medium; you don’t have to walk into a snooty, over-priced art store to find it. The linear quality of tape also makes it a quick medium to work with. Only drawback is looking like you’ve got a stationery fetish when you open your bag.” [via]
Felice Varini’s site-specific paintings will have you dizzy as they distort your reality by altering your perception. Depending on where you stand or how you look her work, it looks completely different. One moment you are standing in front of a spiral of bright oranges, if you move to a different angle, skewed and broken. Her public works are painted on beams of buildings, walls of galleries, windows, and much more. The artist incorporates the entire space that her work inhabits into clever optical illusions, manipulating your eye into seeing something amazing.
Her eye-popping, bold shapes and vivid colors that she uses in her works make it impossible to ignore if you are lucky enough to spot one. Each shape the artist creates is like a piece to a puzzle that only fits together at the right moment, forcing you to pay attention to your surroundings. Varini’s optic art demands that you slow down and take a second to enjoy all that is around you, including her incredible artwork. If you don’t, you may just walk right pass it, only catching hints of blues and reds where there should have been squares and triangles. Felice Varini, originally hailing from Switzerland, now lives and works in Paris where she installs many of her brilliant works. (via Ignant)
Sammy Slabbinck’s surreal collages disassemble the world and construct a surreal place of strange happenings. Taking portions of found imagery, the artist builds compositions in which women are out of proportion and larger than life. They are integrated into the landscape and dominate the scene, while others in the frame barely seem to notice these beauties. There are other bizarre events happening in Slabbinck’s artwork, such as men carrying sections of the galaxy, buildings sprouting out sexy legs, and people at a dinner party watch a bomb go off while appearing unaffected. It almost seems like that the only people that seem aware of their surroundings are the giant women. These are the characters that confront us as viewers, looking right back at us.
Drawing inspiration from vintage books and magazines, Sammy Slabbinck’s collages have a classic feel to them with a modern twist. The composition he creates tends to be both humorous and seductive, as different elements that were once normal now become bizarre through distorted scale and strange juxtapositions. Everything should seem out of place, but Slabbinck’s perfect placement and imagery combinations make everything appear perfectly balanced. You can see more of Sammy Slabbinck’s work on his site or at Saatchi Art.
In a powerful series of black-and-white portraits entitled The Unknown Soldier, New York-based photographer David Jay captures the devastation of war and the marks it leaves on individual lives. The project began while David was shooting The SCAR Project, a documentation of breast cancer survivors. The wars in Iraq and Afghanistan were in full tilt, and David decided that the public needed to see the intimate, bodily consequences of a system that perpetuates the mass injury and destruction of human lives.
Photographed at the Walter Reed National Military Medical Center and the Brooke Army Medical Center, The Unknown Soldier features men and women who have been shot, struck by roadside bombs, and severely burned — stories of trauma which are bravely told by their scars and amputations. The essence of the photos, however, lies in the enduring strengths conveyed in each face as the individual confronts the viewer with their experience. In a statement provided to Beautiful/Decay, David explains the greater aim of his project:
“[U]ltimately, The Unknown Soldier is not about war. It is about many things: Humanity, acceptance, responsibility. An understanding that [what] we do matters. What we say, what we think, matters . . . and [it] has repercussions that quite literally change the course of history.”
In a world where media coverage often turns injuries and deaths into abstract numbers, David has brought human subjects deeply into focus. Seeing these surviving soldiers evokes a sense of social responsibility that extends from the people we know in our immediate lives to those engaged in war. The Unknown Soldier reminds everyone that soldiers are not faceless causalities, and even though people may feel distant from such violent events, there exists a vital responsibility to examine and criticize a system and media that imperils and objectifies human lives. As David continues:
“I hope the images transcend the narrow and simplistic confines of ‘war’ and encourage us to examine the way we engage each other — both friend and stranger — at its most basic, day to day level, as it is these subtle, seemingly innocuous interactions that will ultimately lead us either to peace . . . or the continuum and carnage of war.”
Jonathan Payne’s sculptures of remixed human body parts are utterly disgusting. Warty skin and overgrown toenails, a tooth-penis-nipple hybrid, and a tongue with teeth in place of taste buds are some of the highlights of his shudder-worthy pieces. The sculptures evoke a very physical reaction in the viewer. They are extremely life-like, and so it’s easy to project your own senses into the toes and teeth, to imagine what it would feel like to have those body parts connected together. They’re anxiety inducing, but you can’t look away, they’re so horrifyingly real. If you’re wondering what they’re made of to look so realistic, Payne uses super sculpey, polymer clay, acrylic, and human hair.
Payne calls the sculptures Fleshlettes, and in his description says that he’s interested in “bizarre and fantastical surrealist characters”. Surrealism was concerned very much with the psyche, and I think Payne’s work does a good job of withdrawing and exploring some deep set insecurities with ugliness and deformation in his strange body part sculptures.
In an article on the blog Street Anatomy, it’s listed that each sculpture has a kind of name and character. The toothed tongue, for instance, is Tonya, and she’s the mother of all Fleshlettes. The eyeball is named Eileen “for obvious reasons”. This sense of humour is refreshing and also seems to suit the strange though ultimately nonthreatening characters.
At first glance at London-based Benedict Radcliffe’s work, I thought, “Oh, a computer generated drawing of a car…okay.” Then I immediately realize it is not as boring as I had first assumed! No! These are, full scale, actual wire-frame representations of a Lamborghini, Subaru, etc.