Emma Löfström is a Swedish illustrator and artist whose work is eerie, narrative and has an otherworldly depth. Each of her pieces has this air of mystery behind it with subjects ranging from nature to magic to surrealistic creatures. Some of her works seem like a storybook which I for one would be enamored to get my hands on.
In the site-specific installation Anxiety Map, designer Alexia Mosby documents an overactive mind’s anxious thoughts. It’s a personal map, and one that boldly displays the many things that run through your head as you’re leaving your home. Over the course of two flights of stairs, you’re doubting that the stove was turned off or the door was locked. After making your way to the bottom of the steps, you come to the conclusion that you have to go back and check.
Anxiety Map uses stairs, walls, and even railings to transmit her text in black masking tape. At certain angles letters look distorted, and it’s only when you approach them from very specific ways that they appear correct. Otherwise, they are stretched, shortened, and sometimes incomprehensible – not dissimilar to the thoughts in our head.
New York based painter and sculptor Joe Fig has been featured on our site many times before but I was surprised to find that we had never posted his gorgeous miniature diorama’s of artist studios. Joe Fig has meticulously sculpted everyones studios from contemporary artists such as Ryan Mcginness to everyones favorite Ab/Exer Jackson Pollock. Let’s all thank Mr.Fig for taking it upon himself to document and preserve the rarely seen artists workspace for all of us to snoop around and enjoy. (via)
Beccy Ridsdel, a UK based ceramicists makes an interesting and truthful (to some) statement:
I know we all have our own opinions, but I think craft is technical and art is meaningful (or a reason for being made, beyond the thing itself). Overly simplistic? Probably, but for ceramicists this can be a big issue as ceramics is almost universally seen as craft regardless.
Ridsdel poses an interesting question here, one that not many contemporary artists are asking themselves simply because we are living in a world were art, for the most part, is conceptual. But what happens when someone like Ridsdel, who has the ability to make pottery, or plates, in this case, wants to make her craft both functional and a conceptual art piece?
I chose to make a series of definitely craft objects – bone china plates, mugs, jugs – and ‘dissect’ them.
Here, Ridsdel presents to us an interesting series of ceramic pieces that shows both her craftsmanship but also her creative thinking process. These endearing and fun plate and tea cup sets allude to something more than just eating and drinking. While still remaining functional, the cups and plates work as a signifier that brings to mind ideas of surgery and cosmetic alterations. This concept is ingeniously embedded within the multi-layers plates, and the surgical tools placed near them. (via Colossal)
Marie Koetje‘s specialty appears to be finding beauty in chaos. Her paintings feature jumbled messes of trash and vegetation, and jagged landscapes. Her often dark scenes focus on spots of bright color, illuminated signs, and water reflecting light.
It’s late Tuesday night… VERY late, well it’s actually almost 1am on Wednesday morning when Whitney Houston sings out from the speakers and Tom Krell aka How To Dress Well makes his way onto the Echoplex stage. Ten candles burn at his feet and beautiful video projections illuminate him and his backing band when his voice, a beautiful haunting falsetto hits my ears and my head starts thumping to the beat.
Playing songs from Total Loss, his newish record out now on Acéphale and a few from his debut album Love Remains, the heartbreaking, but beautiful set highlighted not only his voice, but his talent as a songwriter. When he sang the song Set It Right, it rang out like an R&B version of the late Jim Carroll‘s, People Who Died with the names of friends and family who have passed or not in his life anymore.
Photographer Nina Röder creates Mutter Schuhe (Mother’s Shoes), a series that through a variety of portraits visually explores the evolution of three generations of women: her (Nina Röder), her mother, and her mother’s mother. All three women are wearing Röder’s grandmothers clothes and they are sitting around in the old rooms of her (Röder’s) mother’s childhood home. All women maintain more or less the same expression, one of nostalgia for the most past, as they reenact mundane activities throughout the home. Through her choices of clothes and props, the artist is looking to explore how different individuals, her family, recall the past and how it evolves as time wears on.
“The personal narrative of my mother and my grandmother effects my life in a very dominant way: Almost every artwork I’ve done so far is influenced by conscious or unconscious aspects of family stories. For example, my grandparents were expelled from Bohemia (now Czechia) after the Second World War so they lost everything they had. I guess that is the reason why my grandmother now is keeping all her old clothes or furniture from the last 40 years. Almost all my ‘models’ are wearing clothes from my grandmother.”
(via Feature Shoot)
David Welch’s photographs document sculptural assemblages that form pseudo monuments, or totems of consumer goods and debris. The totems speak of accumulation and materiality and encourage debate about consumption, media, class, gender and the ways in which we feel compelled to consume.