….the art & fashion of getting caught in a dangle, featuring works by Kime Buzelli and designers Show Pony. I love Kime’s girly-sketch watercolor drawings, they look like magnified classroom love note doodles. Opening this Friday at Gallery Space. Should be fun!
Inka Järvinen is an illustrator/designer from Helsinki. Järvinen works mostly in detailed collage’s, her output is dark, as she draws inspiration from the old sci-fi aesthetic of the future in the 1960’s and 1970’s. I love her illustrations and simple use of color.
Alaina Varrone is a embroidery artist who, according to her, was born to a family of weirdos and storytellers. She uses this natural inclination to tell tales using thread which are often explicit and erotic in nature. We see naked men and women, sexual acts, and general kinkiness stitched into cotton fabric. Sometimes, Varrone will use delicate-looking floral patterns that add to the delightful absurdity of her work.
Typically, embroidery is seen as a craft, and an activity that’s a favorite among grandmothers (although it does have a thriving community of younger folks). It’s content is generally seen as inoffensive and family-friendly. Varrone has turned this convention on its head by sewing scenes that that are anything but. Her characters go after their desires and fantasies, creating an amusing juxtaposition between how we’re used to seeing embroidery versus all of its possibilities. (Via Juxtapoz)
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.
Photographer Paul Kooiker has a creepy little voyeuristic collection of work that is not only unnerving, but quite beautiful all at the same time. In this way, his work really stands out to me, it is observation perfected – maybe even surpasses to intrusive. This terrifying, and talented photographer doesn’t need gore to freak you out. He just needs the eerie-calm and the psychological imprint he leaves behind that has you suspicious of just who is standing behind you. I am going to have some weird dreams tonight…
Miranda Donovan explores the invasion of graffiti from the exterior world of landscapes and buildings to the interior one– of bathrooms, bedrooms, and yes, even galleries, where street artists are finding more and more of a home these days. However, Donovan’s work is not just about street politics or the art of tagging here– each piece also examines the quality, textures, associations, and contexts of walls themselves.
Of her work, in Cool Hunting, Donovan states, “The point of departure is a wall, which so often people just overlook . . . It’s something in our daily space constantly, internally and externally, and there’s a romanticism in that, which draws me in. The different combination of languages, the grid, the broken plaster breaking up that grid, the colors, the erosion, is something that really excites me. It’s about combining those languages to tell a story about the passage of time and the analogy of the human psyche, peeling back the onion layers to find the core.”
It’s hard to pigeonhole Frederik Heyman as a photographer, installation artist, or sculptor. Employing every medium and genre from drawing to fashion photography, Frederik is the Swiss Army Knife of creativity using anything and everything to create his quirky, layered, and complex images to life.
Tom Schmelzer, an artist from Germany, has created this amazing headpiece which acts as a direct opposite to the late Alexander McQueen’s butterfly hat (shown below) for Spring 2008. This wearable sculpture was created with using wood, brass, felt, steel, rubber, viscose, and 140 scarabaeus sacers… also known as, 140 dung beetles! What Tom intended to symbolize by creating an antipode to McQueen’s butterfly headpiece, is to communicate the end of the noughties with its “neocons and megalomanians, its butterfly paintings and art market-bubbles.”
McQueen’s butterfly hat instantly resembles a vibrant flower in full bloom, while Tom’s headpiece orchestrates the exact opposite: a dead flower appearing rigid and brittle with time. When you compare the two, noticing the stark difference, we are reminded of the constant cycle of booming and withering of which we are surrounded by.