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Claire Morgan’s Crazy Installations Use Weird Materials Like Taxidermy and Dandelion Seeds

 

…My attention has been drawn to the cheap distractions we choose to place in our immediate vicinity, with which to screen us from the overwhelming facts: that we are nothing; that our only certainty as individuals is a life, of unspecified duration, and then a death.

Seeing some crazy output from London-based artist Claire Morgon. Using a lot of unusual materials, she’s put together some really huge (both in scale and technique) installations. Dandelion seeds? Taxidermy? Yes please.

But to get the full Morgan effect, you have to click to her website. She’s got some awesome works on paper too. And if you’re anywhere near Cologne, Germany, head over to Galerie Karsten Greve, where the artist is currently showing a new batch of work. (via)

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Gaia’s Massive Portraits

New York street artist Gaia creates beautiful murals illustrated by hand.  I am really enjoying his Legacy series.

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Shannon Finley’s Translucent Geometric Paintings

Through an intensive process, Shannon Finley applies numerous, translucent layers of acrylic paint and industrial polymers onto canvas with specially designed palette knives. The results offer prism-like surfaces whose subtle nuances chronicle the build up of the material itself. This process draws from the history of geometric abstraction in painting as much as the reductive language of early computer graphics. But Finely eschews any simple opposition between the hand and the pixel, exploring instead the optics of the picture plane while constantly emphasizing the limits of the edge, which provide an unexpected archive of his painterly layers. Ultimately, these compositions remain suspended between the immaterial and the concrete, and are best apprehended as passageways into indeterminate spaces. In this, Finley invokes traces of sacred geometries and religious architecture within a technocratic context, but only as an alternate mode for engaging the unseen. (via)

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William S. Stone’s Chair Sculptures

William S. Stone’s work blurs the lines between design and art with his reimagined chairs and other domestic furniture.

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Build Your New Portfolio Site Before You Finish Your Morning Coffee!

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Here at Beautiful/Decay we know a thing or two about what makes an artist’s portfolio successful; each day we receive dozens of artist portfolio submissions from all over the world showcasing art, design, photography, and more. When it comes to artist portfolio sites, we’ve seen the good, the bad, and the ugly- we wanted to share our favorite artist-friendly website builder with our readers, it’s called Made With Color.

Made With Color is an online website building platform created by artists for artists. You can build your website in minutes without touching a line of code and customize it to fit your needs. It’s inexpensive, has great customer service, and best of all every Madewithcolor.com site is mobile and tablet optimized so that your site looks good no matter what device it’s viewed on.

Sign up for a free trial today, no credit card required. You’ll have your site up and running before you finish your morning coffee.

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Judi Harvest Crafts Intricate And Delicate Glass Beehives

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Miami-born but aptly based in both New York City and Venice, artist Judi Harvest creates intricate and fanciful glass sculptures.   Ranging from gnarled bears to purple martians, her work varies in both subject matter and style. However, since 2013, Harvest has paid special attention to the natural realm, creating delicate and wispy glass beehives.

Comprised of Murano glass and wire, each hive sculpture is naturalistic in color and realistically rendered. Like the pieces themselves, the process behind the work is extremely intricate and requires a great deal of skill:

Each vessel begins with a hand-rolled cylinder of chicken wire, wire found in Venice and characterized by a finer module than that of the hive sculptures made in New York. Glass is blown into the cylinder, protrudes between the wires, and balloons delicately above the top. Some vessels retain wire embedded in their surfaces. Amber glass is the base color in which Harvest mixes gold or silver leaf and other additives that affect opacity, reflectivity, and hue. Sprinkling the hot surface with powdered glass pigment and reinserting the vessel into the furnace creates a rough yet dainty texture that resembles a dusting of pollen. (Denatured: Honeybees + Murano catalogue, Venice, 2013)

In addition to the exquisite aesthetic of the sculptures, a personal interest in honeybees also contributed to the creation of this series. On top of her artistic career, Harvest is a beekeeper, finding inspiration “in the form and behavior of the honeybee, the hexagonal wax cells of the honeycomb, and the rounded volume of hives in nature”—influences that are undeniably present in the ornate detail and beautiful composition present in her Bee Series. (Via Sweet Station)

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Benjamin Edmiston

The Escape

Artist Benjamin Edmiston lives & works in Brooklyn, NY and he’s just opened an exhibit on July 2nd at the Infantree Gallery in Lancaster, PA. He produces paintings, drawings, and prints that, according to the artist, “recalls for me the tension of an early, crude Mickey Mouse cartoon, or a misplaced folk sculpture standing eerily on a dusty shelf,” and I’d have to agree.

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Ji Yeo Questions Female Beauty With Photo Series Of Women With Eating Disorders And Hollywood Models (NSFW)

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Brooklyn-based photographer Ji Yeo  creates Somewhere on the Path, I See You, a project in which the photographer captures two different types of women: one with extreme self-regulation and distorted notions of beauty that suffer from eating disorders, and the other women are aspiring actresses and models living in Hollywood, California, who are interested in the process of being represented because they carry dreams of fame.

By carefully selecting various body and personality types ,Yeo creates a sample of photos (and people) that further examine larger societal issues regarding ideas of beauty, self-definition, and self-respect.

By forcing viewers to confront images of women who by definition had been judged continuously by themselves, it brought focus to the viewers natural impulse to judge. In doing so it implicates them in the complex relationship we have with making aesthetic judgments.

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