Fra.Biancoshock insists he is not a street artist, but rather the Milan-based experientialist noticed that his street-level installations and interventions spoke using the same language as Street Art. In regards to the movement of Street Art in regards to his work, the mysterious, identity-protecting Fra. says, “For me, that phrase is a provocation: I have not studied art, I do not frequent artistic circles, or amicidell’amicodelcuginodelfratellodelsuoamico … And I have no particular technical and artistic skills. I just have ideas and I like to strain my mind in trying to propose to the common people through what I call “Unconventional Experiences.” I think mine are “experiences” rather than works of art.”
With ties and intentions closer to Performance and Conceptual Art (for those paying off MFA degrees, think Guy Debord), the man who would become Fra.Biancoshock developed the performative avant-garde school of art he calls Effimerismo (“The Effimerismo is a movement that has the aim of producing works of art that exists in a limited way in the space, but that they persist in an infinite way in time…”) as a means of exploring and categorizing his specific means of street engagement (or as he is known to call them, “speeches”).
Operating in this very-intentionally public mode of communication, Fra.Biancoshock uses the streets as a forum, installing temporary interventions to call attention to themes of poverty, urban blight, modern stress and decay. Present in most works is how Fra deals with serious themes with a disarmingly light-hearted approach. His work has mostly been viewed (often quite temporarily) in Europe, though as Fra. says in his Manifesto-like statement, “Prior to founding the movement, [Fra.biancoshock] has made more than 400 speeches on the streets of Italy , Spain , Portugal, Croatia, Hungary, Czech Republic, Malaysia and the State of Singapore, and has no intention of stopping.” (via hi-fructose)
Jarmila Mitríková and Dávid Demjanovič are a fascinating artistic duo adding spice back into a traditional form of art-making. They hail from Slovakia and employ a technique called pyrography, which involves burning into plywood and shading the images with wood stains. This particular way of mark making was popular with people mostly during socialism in former Czechoslovakia. A style with is linked with folk art, domestic crafts and cultural traditions, the pair tap into their own history and national identity.
In their hybrid style you can see christian traditions, folklorism, pagan rituals, superstitions, myths, local legends with links to WWII and socialistic history, all with the backround of real slovak scenery. (Source)
Mitríková and Demjanovič play to their strengths of storytelling and creating very strong, personal images. We see very graphic scenes being played out – hunting rituals, exorcisms of some type, sacrificial set ups, and masked people involved in cult-like activities. With titles like Guardians of National Spirituality,Procession With Nazi, Cult of Goddess Morena, Dance Plague and Evacuation of Slovakian Elites, they focus on a time of secret societies and unknown mysterious behavior; they speak of a time when not everything was understandable, or explainable.
Typical for their practise is working with mystification and creating thematic series, where they focus their attention on one subject from our present or history….. when they work with real slovak subjects, using their style of storytelling, they create absurd, comic situations and new contextual reading. (Source)
This talented couple manage to recreate a sense of wonder, secrecy, ambiguity and riddles. They put a contemporary spin on an ancient art of wood burning and telling campfire-stories.
A jewelry collection by Icelandic designer Ágústa Sveinsdóttir explores the transience of all earthly pursuits by incorporating one unusual material, dust. Her metallic wearables allow their owners to experience the transformation and disintegration as the jewelry changes and decays over time.
“In this world everything existing is linked to the process of birth, decay and disappearance. That is the way of life, the way of nature. Inspired by the tradition of the symbolic Vanitas paintings, the Dust collection is a reminder of the transience of all earthly pursuits and how it can be a motive for design.”
Designer wanted to break the traditions of material use and employ materials that have been considered worthless. She chose dust as the ultimate result of disintegration: “It’s everywhere and ever-present <…> It is everything and yet metaphorically the embodiment of nothingness.” Sveinsdóttir questions the material worth by juxtaposing jewelry, a sign of beauty and wealth, and dust, an inconvenient mundane matter that people always try to get rid off.
The dust was collected from abandoned Icelandic farms. Designer pursued to find dust at its purest form, thus derelict places where time has stopped, man has left and nature has taken over were perfect. Using a biodegradable adhesive, dust particles were transformed into a jewel coating and used to cover the metallic bangles and rings. With time, the dust fades away unveiling the manmade skeleton of the object. (via designboom)
It’s been on the street and it’s been in shows all over – Luke Ramsey has taken his work from something rugged to something refined and maintained the exact same detailed aesthetic all through it. His illustrations really play on the versatility of the “line.” His limited use of color makes his drawings that much more intense to look at – like Meatwad, after the jump, which is primarily constructed of one kind of squiggly line. They’re funny, cynical, sometimes dark, but always captivating. – there’s something light and relatable about it.
The Connecticut-based artist Dalton M. Ghetti carves mind-glowingly small sculptures atop the tips of pencils. Bored with carving larger objects, the sculptor invented this delightfully miniature medium to draw the eye to the pleasures of the minuscule; in a world where bigger is generally thought to be better, his work reminds us that sometimes the most magical things can spring forth from right under our noses. Ghetti uses sewing needles and razor blades as carving tools, and he works by holding the pencil steady beneath a direct light source like a lamp. Due to the required precision and effort, a single piece may take months or even years to finish.
Ghetti’s work contains a charming childlike curiosity and innocence, one that is maintained in part by his staunch refusal to sell or profit financially from his creations. The pencil is an artistic medium in itself, and by carving it, the artist shifts our perspective and subverts our understanding of what constitutes fine art. Furthering this whimsical challenge to the visual arts cannon, Ghetti avoids fancy pencils, using only recycled or discarded pencils that he finds on the street. The subject matter of his sculptures is also delightfully regular; by carving these everyday objects—a saw, a hammer, a spool of thread— he elevates the seemingly mundane.
Ghetti’s most ambitious piece is his 9/11 memorial. For the project, titled 3,000 tears, the artist carved 3,000 tiny teardrops from pencil graphite. Each tear took approximately an hour to make, and the entire work was in progress for a decade. Together, the tears form one large drop. Take a look. (via KoiKoiKoi)
British composer Anna Meredith just released her debut, Black Prince Fury EP on limited edition vinyl from the Vinyl Factory/Moshi Moshi in the UK. It’s limited to only 300, so if you want one, you better act fast. You can stream the full version of Nautilus and check out the animated video via Noisey, directed by Tony Comely.
It is common knowledge that superstar athletes are paid handsomely. But artist Victor Solomon reminds us of that fact in a beautifully colorful and decorative way. He spent over 100 hours hand making stained glass window-style backboards for the basketball court. He makes the connection between the luxury life a lot of professional athletes live, and the historical opulence that once existed in homes and interior design.
After designing the backboards in a traditional ‘Tiffany‘ style, he cut the glass, soldered the frame together, strung together different style nets to suit each design, and even gold plated the rims. He has weaved jewels, gems and chains together, attaching them to the Art Nouveau style designs. Literally Balling is his collection of three different backboards, and what started out as a joke between friends, quickly turned into a labor intensive project centered around luxury and grandeur.
The thought of someone haphazardly throwing a basketball at one of these intricate and fragile creations is quite an unsettling one. Solomon cleverly points out that the attachment to, and respect we have for beautifully handcrafted objects, is also the same we have toward celebrity sports stars and professional sports. We can look, but it’s probably better not to touch. (Via Design Boom)
In her latest series of ceramic and underglaze sculptures entitled Habitats Collide, artist Crystal Morey underlines the role and impact of human beings on nature in the most melancholic sense. Her work represents human beings with stern looks on their faces “encased” in the bodies of animals. Morey states that the animals she has chosen for this series are either endangered or extinct, which adds to the thoughtful aspect of her project.
She states that her work is inspired by the Byzantine, Renaissance and Ancient Egyptian eras. It also bears a strong resemblance to Native American totem art, due to the visible ridges in the pieces which are designed to look like fur as well as the merging of human and animal forms. Her work, being inherently totem like is thought provoking on many levels beyond its aesthetic composition.
Her representation of human beings as both a part of nature and a problem for nature is in line with many current debates concerning the role of humans as linked to the impact we have had and continue to have on our environmental surroundings. She states that her work seeks to address “current psychological, environmental, and cultural feelings”, which she does perfectly through the facial expressions of the human components in her work. She hopes to create a dialogue centered on technology, progress, and, on a greater scale our relationship with nature.