Oakland based artist, Brendan Monroe, creates bizarre compositions that feature imaginary ‘moving’ landscapes and faceless, alien looking creatures that resemble the human body. Monroe takes inspiration from the study of science and his interest in existentialism and self-discovery.
His characters, often portrayed in purple and reddish hues, find themselves in these multilayered, remote landscapes that present themselves as chaotic, or always in motion. The stringy, cool colored worlds precisely double their existence as a wonderful yet confusing space. Monroe is also interested in presenting his funky characters the same way he does his landscapes, as intricate forms that are always in motion.
We can take Monroe’s aesthetic and conceptual approach as one that tries to visually explore what it means to be human in a world that is contingent upon the variety and complexity of our actions, state of mind, or simply the passage of time and the progress it brings with it.
Each is a way of looking at and figuring out life. It’s that human question of what and who we are, how we are here. I also like the emotion and feeling of discovery and also the solving of a puzzle that was not known before. I lean in the direction of sciences I think mostly because I was raised that way, and I like to do my own investigations and draw conclusions.
Photographer Lynn Lane captures dancing spirits in a series of haunting photographs. These site-specific images were created to evoke the history of the Wynne Home Arts Center, a 19th century mansion located in Huntsville, Texas, 70 miles north of Houston. Wynne is now a performance and gallery space and its history serves as a counterpoint to the contemporary works it exhibits.
Imagining what life must have been like in a small town over 100 years ago, Lane collaborated with dancers in capturing photographs that invoke the memory of the past inhabitants of Wynne House while also utilising the unique characteristics of the house as a backdrop. Stairways and attics provide opportunities for the dancers to tell stories while floating in mid-air.
These photographs, developed specifically for site specific project were created in collaboration with NobleMotion Dance choreographers Andy and Dionne Noble, lighting designer David J. Deveau, and dancers: Alexis Anderson, Mark Chaves, Jennifer Mabus, Brittany Thetford-Deveau, Tristin Ferguson and Travis Prokop. Lynn and Dionne co-choreographed a dance in response to the work that was performed in the gallery space as well.
Based in Houston, Lane works primarily in the arts shooting performance as well as documentary and fashion work for designers. He is the official photographer of the Houston Grand Opera and has worked with opera companies across the US and dance companies around the globe. His work is regularly featured in magazines and newspapers internationally including the New York Times, Wall Street Journal, Opera News, Dance Magazine and many more.
Amanda Merten makes you wonder what sorts of things you could cook up with the time you spend diving deep into the bowels of the internet in search of sacred, yet-undiscovered images of cats to turn into potential memes. From styling to modeling to photography– the skill she contributes to The Smartest Thing She’s Ever Said. Amanda seems to do it all and do it all pretty well. We talk to her here about being a do-it-all, the intriguing story she’s working out with her collaborator Alice Gregory, and the mythic lack of good Mexican food on the East Coast.
If you weren’t already convinced that Tilda Swinton is a dream-walking faerie queen, then Tim Walker‘s photography will certainly dispel all doubt. Whether she’s mingling with surreal objets in the home of Dominique and John de Menil (a series aptly named “The Surreal World“) or resurrecting lush jungle dreams (“Las Pozas“), Swinton punctuates each scene with a piercing gaze and an incandescent question mark.
Walker plays up Swinton’s otherworldliness with a deft hand and eye for stark contrast and color. In one photograph, it’s Swinton versus Swinton against a backdrop of surrealist paintings. In another, staring out from beneath a veil of gauze, Swinton poses like a bust in virginal white.
The description of Walker’s work from his biography — “extravagant staging and romantic motifs” — is certainly apt. From one stage to the next, Walker coaxes out a variety of subtle expressions from his subject: severe, pensive, and — just a hint — inviting. His photographs are transportive, giving viewers a brief glimpse of what it’s like to be an oneironaut circling the psychic deep. (via Dark Silence in Suburbia)
In his giant installation art / performance Para-Production, artist Ni Haifeng reverses the common global process of production. A massive movement of commodities takes place each day often beginning in the country of Ni Haifeng’s birth – China. Many companies defer production of their goods to the country which are then often exported for consumption in the Western world. In Para-Production, however, a large room is filled with loose garments and sewing machines. Gallery visitors are then invited to work, to sew these items together. In a way, the installation becomes a performance of labor – people that are often the consumer of Chinese-made products instead produce a product for a Chinese artist. [via]
Christian Maychack lives and works in Brooklyn, NY. Combining epoxy clay with various pigments Maychack creates dynamic marbled abstractions that dance around their wooden surroundings. The nature of the clay and pigment allows the forms to appear as paintings upon first glance. In this way the work blurs the line between abstract painting and sculpture.