We have featured Daniel Kukla‘s Captive Landscapes project here in the past. In his newest project entitled The Edge Effect Kukla utilizes a mirrored effect to reveal new compositions within environments. Using nothing but a large mirror and a painters easel Daniel forces an Edge Effect. This term is used in the field of ecological sciences to describe the juxtaposition that results in the meeting of two distinct ecosystems. He describes the process as “Using a single visual plane, this series of images unifies the play of temporal phenomena, contrasts of color and texture, and natural interactions of the environment itself.”
James Viscardi’s current painting series at The Sunday Painter gallery has art engage with fashion in a way rarely seen. Art and fashion overlap on so many levels, whether it is a designer creating preliminary drawings for a dress or an artist incorporating the style of an era into their portraiture to record that point in time. Fashion is a form of visual expression as painting, drawing, sculpture, etc. Even the commodification of fashion can barely differentiate it from art, as portions of the art community become increasingly concerned with haute brand name artists like Jeff Koons or Damien Hirst that can easily be compared as the Karl Lagerfelds and Marc Jacobs’ of the art world.
It can’t be denied that art and fashion go hand in hand, though often it is fashion photography that will take on themes relating to art rather than artists referencing fashion. Viscardi’s artwork recognizes the expressive potential of a piece of clothing, as well as its affinities with painting materials. After all, canvas is cotton, as is your shirt. In an interesting reversal, Viscardi literally stretches the fashion element over an art structure, to repurpose fashion for art. Fashion is much more present in the general public consciousness than art is. Every person has some opinion on fashion, not every person has engaged with art. Viscardi uses both art and fashion elements to inform each other, and the result is a seamless union (pardon the pun). (Via i-D)
Design duo Ben Tegel and Brian Romero combine their mighty illustrative skills to form the collective 21st Century Filth. Their pop punch vulgar street grit sensibility calls to mind the cantankerous and misogynistic godfather of underground comix, R. Crumb. Check out more of their stuff at their website; linked above.
These marble and bronze sculptures of Kevin Francis Gray‘s are beautifully mysterious. They are classical in technique, but completely contemporary in subject matter. Gray chooses figures and characters – “the freaks and oft-romanticized street tribes of the East End” he see on the streets around his studio in London and then turns them into striking statues. Covering them in beaded veils or shrouding their faces with draped cloth, he manages to surround them in mystery.
His piece called ‘Ghost Girl’ superficially looks like a classical Greek or Roman sculpture, but is actually an earnest, tender view of a modern city girl, with a urban-ghetto-gothic twist. Poking out from underneath her veil is a skull tilted down toward her feet. She has her arms casually wrapped behind her back, but bear the markings of self harm. Gray renders many of his subjects from live sittings and recalls sketching the different faces:
One of the subjects has intense agoraphobia. Another was the first subject whom I really, truly didn’t like. He was so dark, a complicated psychopath. But I was determined to capture that. Some of the subjects could only sit still for an hour, because they had to go get high or whatever. (Source)
All of Gray’s pieces have a dark history to them, but he sculpts them so impressively they transform into something majestic, almost mythical.
What I’m trying to do is create a juxtaposition. The surface is glossy and consumable, but look deeper beneath that and you’ll see a darker underworld. (Source)
Sean Anderson is a painter based out of Santa Barbara, CA. The jungle is a reoccurring theme in his work, and connects to his past experience of being an artist in residence in Bolivia for two years. He plays with novel color relationships and combines non-traditional media, such as spray paint and florescent enamel alongside oil on canvas. Bold and vivid, with their dilapidated houses fixed in florescent hues, the paintings often appear lit as if by nuclear blast.
His jungle paintings sometimes demonstrate an interest in commercial art and advertising, taking direct influence from pop artist Ed Ruscha by combining landscape and text to bring new meaning to ordinary or nonsensical phrases.
In addition to his work as a painter, Sean is co-curator of the Anderson Art Collective and works alongside his brothers (also artists), Benjamin and Ron Anderson. He has an upcoming show at Firehouse30 gallery in Walla Walla, WA.
As with everything else in life technology is changing the way fashion is created, documented, and finally consumed. Long gone are the days of discovering small brands by accident while on vacation or stopping someone on the street to ask them what designer they are wearing. In todays world everyone has immediate access to everything and small fashion brands, stylists, and writers only need a few minutes to create a website or youtube channel and share their vision with the world.
In this short film “Future of Fashion” i-D explores the way in which the internet and technology is transforming the industry. Supermodel Coco Rocha recounts her experiences of multimedia catwalk performances while Net-A-Porter’s Natalie Massenet talks e-commerce; i-D’s New York Fashion Director Alastair McKimm explores 3D printing, fashion designers threeASFOUR predict the future of wearable tech, and internet wizards OKFocus explain how computers can revolutionize fashion as much as photography has. Join these fashion luminaries as they share stories of fashions yesteryear and discuss how technology will influence fashion in the future.
English photographer Carl Warner creates realistic landscapes that are made out of food. As an experienced landscape photographer, Warner puts his talents to work in order to reinvent the conventional type. The ‘Foodscapes’ are created in Carl’s London studio where he crafts out each and every little detail (all components completely made out of food) through intricate and laborious steps. The scenes are photographed in layers from foreground to background. The food products used tend to wither quite quickly under the beaming lights, this might take each landscape even more time to get finished.
He first starts off with a set of drawings; he lines up the model-drawings that he would like to work with, and from those he picks the one that will be worked on.
Warner has a team of food stylists and other artists that help him with the process.
“ Although I’m very hands on with my work, I do use model makers and food stylists to help me create the sets. I tend to start with a drawing which I sketch out in order to get the composition worked out, this acts as a blue print for the team to work to.”