Billelis (Billy Bogiatzoglou) is a digital artist, illustrator, and art director currently living in the UK. With an eye for bold contrasts and colors, complex machinery, and the macabre, everything he produces has a hyperreal and futuristic quality. In the series featured here, Billelis has chosen one of his recurring motifs — the skull — and reproduced it 50 times, digitally engraving each one with “key patterns that influenced humanity through the millennia” (Source). Open up his dark, digital sepulcher and you can see skulls marked with patterns resembling Aztec, Greek, Roman, Celtic, and folk designs, as well as geometric patterns and — on a different note — Space Invaders.
Each skull is uniquely sculpted in 3D. Focusing on texture, geometry, and symmetry, Billelis has perfectly enmeshed skeletal anatomy with complex patterns. The effect is both beautiful and haunting — hollowed eyes and fleshless mouths are framed and flowing with undulating lines, giving the skulls a morbidly antique and museum-like quality. This is not the first time Billelis has combined bones and geometry; check out his fascinating Man vs. Nature project for something similar.
Barbara Wildernboar, a South African photographer and sculptor, creates a series of altered books that are visually reminiscent of organic, sea-like organisms. Some emulate the visually striking legs of a star fish, others are reminiscent of wild, but beautiful jellyfish- but most of her work imitate the very beginning of any type of live being, a very basic but important part of life as it is- the shape of an atom or a mitochondrion found in eukaryotic cells.
Wildernboar strictly uses books that she buys in flea markets while she’s abroad; usually, she uses books that are dated and redundant- however, there seems to be a pattern to the kind of books she picks- almost all, if not all, have to do with earth/physical science or biology. This specific detail could or could not be relevant, but the ways in which she shapes and manipulates the paper within the book tells us otherwise. She states the following about this speculation:
Although my work has strong ecological themes, I do not see myself as an activist for environmental change, nor is the body of work to be seen as a green campaign. It is rather a reflection on my personal response to climate and environmental issues that can often leave one feeling overwhelmed and distressed.
Luca Mainini is an italian visual artist and writer who is not afraid to share his thoughts. Whether it is a bloody love for Zac Efron or lipstick crashing into the World Trade Centers, Luca is willing to push it, and I love it. This guy likes to get wild. I mainly enjoy his paparazzi project were he is shown as a “drunk and fat” mess. Plus his collage work is fun too.
Jess Riva Cooper’s ceramic sculptures are as beautiful as they are disgusting. Her works have the viewer going back and forth between pleasure and revulsion, creating a welcome confusion to be examined. This juxtaposition of attractive and off-putting elements is not a new phenomenon in art – think Jessica Harrison’s ceramic women, and whose work we’ve featured on Beautiful/Decay – and although her artwork is also similarly violent, the aggression is expressed quite differently. Cooper’s busts are overtaken by plants, leaves, and sometimes bugs, which are often gagging or otherwise obstructing the female’s sensory capacities. The plants grow from the women’s heads, the leaves with an almost leech-like gesture extend out with determination.
It’s painful to see the women bound by nature in this way, also because, as a bust, they are without arms or hands to defend themselves. She renders the women with a great deal of skill, their expressions soft and subtle. In her artist statement she speaks about nature reclaiming its place and “a loss of control…as the parasitic entity subsumes the host” as well as her interest in sculpting the figure as a way to illustrate “physical and emotional vulnerability of the individual.” She addresses these themes plainly in her work, which is what makes it so successful and enjoyable.
With the precision of an expert glass cutter Myriam Dion snips into the front pages of newspapers to produce an alternative look into current events. Her sharp tools create striking portals of light flickering through pieces of paper which have been crafted to produce a stained glass window or lacey embroidered effect. The dizzying number of cuts are similar to the marks a painter uses to create canvas.The negative space created from Dion’s labor enhances the grainy newsprint which turns more impressive when the paper’s color photographs are used. These resemble light and airy woodblock prints giving it an arts and crafts sensibility.
Dion has made several installations including a project which covered the windows of a government building in Montreal. It referenced the slatted arches seen in gothic style architecture commonly used in old churches each page filling the space with expertly cut and designed sheets. In another a waterfall effect of color newsprint photographs set in a line razored to resemble punctured curtains become a more conceptually minded piece when the paper’s residue is left behind.
Dion is a Canadian artist currently attending the University of Quebec. She first began creating this unusual work in an attempt to reinterpret the state of print journalism. (via honestlywtf)
Chinese artist Shu Yong created an atypical waterfall using upwards of 10,000 recycled toilets, sinks and urinals. The project took two months for Shu Young and his team to complete and covers a wall 100 meters long and 5 meters high. Originally designed for the Foshan Pottery and Porcelain Festival, a porcelain product tradeshow, the piece is now installed as a permanent piece of public art. Each toilet was connected to a tap so that they could be flushed—the point being to give a viewer an idea of just how much water is used in a city as large as Foshan.
Shu Yong typically works in many mediums, ranging from painting, photography, sculpture and performance, always interested in “bubbles.” For Shu, bubbles are not just a symbol, they’re also a concept. Shu says, “I use various methods to deduce bubble, making it a totem in both conception and form.” Alongside the Toilet Waterfall Shu installed one of his “Bubble Women,” a sculpture of ballooning women’s breasts. A seemingly unusual pairing, Shu uses the Bubble Women as a reflection of the motivations and interests of modern day society. Juxtaposing the two works makes for a bizarre, yet strangely effective, commentary on contemporary culture. Shu believes in using such provocative work to address cultural mythology, politics and contemporary anxiety in China, or as he calls it, “his laboratory.” (via amusingplanet)
Yes, that really is a literally rainb0w-gradated longhair headband wearing naked dude making some kind of Buddhist meditational gang sign. Francis Upritchard wraps up all that is right and wrong of the neo-crystal optimism of the 60’s psychedelic counterculture and fuses it with her own blend of futurism.