Northern Irish, Australian based artist Emma Coulter creates large scale colorful illusions that break the boundaries between painting, sculpture, installation, and interior design. Her work, being painted or installed directly on the walls, are site specific, allowing each vibrant piece to exist as a reaction and assessment of it’s environment. She notes that “spatiality in painting has long been a problem in the history of art.” Her process allows to her “utilis(e) space as a raw material,” challenging the traditional approach to figure out and investigate the issue of space and light. Her use of color and geometry employs a distortion of the space— creating illusory elements that both add and destroy previous conceptions of reality. Within in artist statement, Coulter explains:
“I see colour as an object or material to be manipulated through placement, proportion and adjacency in response to space. I am interested in challenging our assumptions about colour. It is a commonly misunderstood material, that is often associated with not being critical or serious. Through my systematic approach to colour and the spatiality of painting, I hope to reveal something new about the practice of painting and its potential to blur boundaries and adapt environments.”
Her use of color, big, bold and bright, is a nice wink to conceptual minimalist artists such as Sol LeWiitt; her work captures that same notion of a somehow clean experimentation. Truly a contemporary take on difficult and endless artistic quandaries. (via PICDIT)
Initially inspired by an accidental discovery of Marilyn Monroe’s image embedded within the frames of Shinobi—a classic SEGA console game from 1987 Japan—Atlanta-based artist Ashley Anderson‘s multi-media exploration of the icon’s 8-bit image skims across the realm of painting, drawing, collage and animated gifs. The glitchy, pixelled-out nature of the images is indicative of Anderson’s 8-bit aesthetic, but this new body of work somehow begins to morph, to twist, and to move into something more obscure. Loaded with fragments of late 1980’s digital culture, some pieces only offer the faintest recollection of the image, requiring a bit more visual extraction to pull out the digitally reduced visage of Warhol’s Marilyn. As a whole, the investigation is an intriguing peek into the nature of digital reproduction and image appropriation.
A photo of Motoi Yamamoto on all fours, creating these masterpieces, is all you really need to see to figure it all out. Even for those of us who haven’t listened to the mind of our inner child so consistently, it’s obvious that Motoi focuses, and creates. In the video we included above of Yamamoto creating these incredible installations, the painstaking scope of the work is put into perspective, making the clear connection between meditation, clarity of mind, and ability to create. This is to say, aside from these installations, we doubt he has any need to meditate. The targeted concentration he employs while creating is a function of total dedication to a vision. Much like we all did when the first building blocks or Lego’s were tossed at our feet. The mode is white wall, but for us, the process of creating the art is what makes this so exceptional. With a CV that looks like a yellow book, we’re clearly not the first to have latched on to the captivating works of this incredible Japanese artist. (via i paint my mind)
Adrienne Allebe’s exquisite drawings are a visual manifestation of the events happing in our enviornment. Renderings of microscopic organisms morph, blend, and sit atop imagery of man-made objects. Endangered and threatened animals and environments are drawn and painted so that they appear to transform, disappear and reappear in order to reinforce the tenuous condition of their existence. And forms appear to float in and out of focus, sometimes peacefully, sometimes violently, evoking the uneasy merging of human industry and technology with natural ecosystems.
Josh Kolbo‘s large-scale, high-gloss c-prints merge photography and sculpture, as the distorted images are layered on top of each other to build narratives over space and time. More of the work (including close-ups) after the jump.