The mystical, mesmerizing performance works of Atlanta-based artist Shana Robbins stretch the boundaries of the real. Her jarring, costumed and choreographed rituals of passage are strange and unreal, yet compelling. The photo-documentation of each performance points to carefully constructed sets, costumes and props that set the stage for her offbeat, painterly vision of theatre. Conceptually the works address conditions of the natural realm, feminine existence and ritual with a futuristic, pagan edge. Drawing on her own experiences as a student of Butoh movement, Robbins explores methods of movement and storytelling that pull from ancient narratives of birth, death, identity and transformation.
Have you ever been staring at the screen on your phone so long that you feel like a zombie? Well, Steve Cutts illustrates this bizarre technology, zombie-like phenomena as a terrible reality. His vividly colored illustrations and animations cleverly and satirically portray contemporary society as a series of greedy monsters, zombies, and hollow-eyed humans with no trace of humanity. Each scene exposes the sad truth of what is wrong with the world today, with money hungry men and dismal humans being completely controlled by a piece of technology. He uses a graphic novel-like style, full of bold colors, with an intensity that will stay engrained in your mind for years to come. The London-based artist illustrates and animates depictions of familiar characters like Roger and Jessica Rabbit in a somewhat humorous, but undoubtedly dark way.
The abysmal world that is portrayed is one of shallow intentions and hopeless monotony. Steve Cutts’ work leaves us questioning our own society and our role in it. He points a stern finger back at the viewer in his vibrant, unforgettable work. Displaying the ‘rat race’ we all find ourselves in as one with actual rats, it shocks us into contemplation. These rats are not only stuffed into small places, but also caught and killed brutally in a trap. Steve Cutts’ work is insightful, intriguing, and incredibly well done, however, this is not a world that is appealing to the masses. Make sure to check out his full animations on his website. (via Bored Panda)
An old train travels through magical landscapes to discover an unknown ancient city. Watch the full video after the jump.
Covert Operations: Investigating the Known Unknowns, curated by Claire C. Carter, recently opened at Scottsdale Museum of Contemporary Art (SMoCA), occupying the museum’s four exhibition spaces with intense focus. Encompassing digital media works, large scale photography and interactive installations, the exhibition questions what we know and what we think we know.
SMoCA writes: “Covert Operations: Investigating the Known Unknowns is the first major survey of a generation of artists working in the violent and uncertain decade following the 9/11 terrorist attacks to collect and reveal previously unreported or under-reported information. This group of international artists includes Ahmed Basiony, Thomas Demand, Hasan Elahi, Harun Farocki, Jenny Holzer, Trevor Paglen and Taryn Simon. They use legal procedures as well as traditional research methods and resources such as the Freedom of Information Act, government archives, field research and insider connections. The thirty-seven artworks included in Covert Operations employ the tools of democracy to bear witness to attacks on liberty and to embrace democratic ideals, open government and civil rights.
The ceramics of Jess Riva Cooper are gross, majestic, fragile and poetic. Her Viral Series is a collection of clay heads bursting with groups of insects, tree roots, branches, leaves, flowers, stems and buds. Mostly white with a heavy glaze, Cooper subtly decorates areas of her sculptures and adds accented color. The pieces show a beautiful understanding of the circle of life, or rather how things are destroyed and created simultaneously. Cooper talks about how something seen as destructive and parasitic is no different from the form it is overtaking. She treats all areas of life as equal, and each creepy crawly is as beautiful as a lotus flower.
My work, Viral Series, is a continued exploration into the death and regeneration taking place in deteriorating communities. Places and things, once bustling and animated, have succumbed to nature’s mercy. Without intervention, nature takes over and breathes new life into objects, as it does in my sculptures. (Source)
Cooper has researched heavily into different cultures and how this same idea is treated. In most eastern philosophies, the idea that birth and death are part of the same spectrum rings true. She takes that idea further and looks a bit deeper into one culture in particular:
I also study the foundation myths of the Golem and Dybbuk spirits in Yiddish folklore and reinterpret these traditional stories through a female lens. I see a direct parallel between my interest in insidious plant life and a malevolent Dybbuk spirit, which takes over the human body. In both situations a loss of control is suffered as the parasitic entity subsumes the host. (Source)
Cooper’s ceramics remind us that even though things of beauty are there to be admired and celebrated, it is also a fine thing when those things are disrupted and replaced by other things.
Welcome to the world of London based sculpture Alessandro Gallo where bird people hang out on a ledge, Tattooed lizards chill with a mild case of beer guts, and a cornucopia of creatures read and patiently wait at a bus stop. More manimal hybrids after the jump.
Lisa Nilsson’s works renders the densely squished and lovely internal landscape of the human body in cross sections. Her materials are Japanese mulberry paper and the gilded edges of old books. They are constructed by a technique of rolling and shaping narrow strips of paper called quilling or paper filigree. Quilling was first practiced by Renaissance nuns and monks who made artistic use of the gilded edges of worn out bibles, and later by 18th century ladies who made artistic use of lots of free time.