Jörg Brüggemann’s work captures the raw aesthetic behind the fans of heavy metal in order to illustrate the genre’s ability to unite the fans of it’s sound in order to create a unique culture, despite social, economic, or political differences. The photographs have been taken all around the world including Argentina, Austria, Brazil, Egypt, Germany, Indonesia, Malaysia, Switzerland and the USA.
Diggin’ Heads, an aptly titled series from Baltimore-based artist Aaron Dunn. From the artist:
Heads is a series of carved paint pour(traits). It’s my likening of artists to Doctor Frankensteins, and a contemplation of what we might owe our work if it lived and breathed. Heads began as a parody of macho chest-thumpers like Pollock and Koons, but grew into a joyful exploration/recontextualization of the possibilities of ‘traditional’ painting media: this includes the physical incorporation of paintbrush bristles/handles and other hardware into the work, as well as poured, dissected and dripping paint in all kinds of messy 3D applications.
Really creative process and it seems to be working out well too- the works are definitely bee’s knees material. See more after the jump, including Dunn’s take on Homer Simpson.
Artist James Bullough channels the spirit of graffiti and street art in his incredible figure paintings. He combines a realistic style with a geometric twist that breaks his paintings into fractured imagery, creating an additional element of line and shape. Each image is close to Realism, as his figures look like they are out of a photograph. However, Bullough creates a disruption in the rhythm, like a glitch in the painting that alters its shape. He dissects his figures into different segments, dramatically cutting right through the composition in carefully placed segments. If the artist does not slice across the painting with shifting fragments and splashes of paint, then he creates patterns from the missing pieces. In several of his paintings, Bullough leaves out pieces of the figure’s body. These precise chunks of the composition that he leaves out create different patterns and shapes sprawling across his work.
Although Bullough’s paintings are created in oil paint, the artist is also known for his skills with spray paint. He is not only a talented painter, but also an unbelievable muralist with works all over the world. Originally from Washington D.C., Bullough now resides in Berlin, Germany, home of a plethora of talented street artists. In a city filled with amazing murals, Bullough’s work stands out, as his combination of hyperrealism mixed with elements of fractured imagery certainly demands your attention. Influenced by urban graffiti, the artist creates work that embodies the flavor of the streets while still harnessing incredible technical skill.
Margi Geerlinks’ work is concerned with the ways the human species creates an identity for themselves, and the forces that seem to govern this process. She takes four of the Ten Commandments and digitally imprints them on children. She portrays the ageing process by commenting on the ways modern society tries to slow that same process down. The directness of these images may come across as quite blunt, but every visible detail is there to warn us not to jump to conclusions. The children may bear these condemning moral codes on their chests, their pose and actions display a very human insecurity.
Being deeply physical, her art confronts us with the many things that literally mold our beings into shape. Displaying the effects of science, religion, morality and time, Geerlinks photographs are a timeless testament of the human condition. Taking the body as a canvas she tries to show both the current identity of the person photographed and the things that make her become someone else. She seems to categorize the different stages of a human life by representing them symbolically, but at the same time she makes us question the necessity of an age divided society.
I’ve been a huge fan of Jonathan Bates’ music for a long time. He was in the LA based band Mellowdrone, who I first saw back at the Troubadour in 2003 and loved. I first saw Big Black Delta at the Satellite in Los Angeles in mid 2011 during one of the free Monday night residences. I can’t remember who else played that night, but Big Black Delta made a lasting impression. I didn’t even realize it was the singer from Mellowdrone, since it was just Bates on stage by himself in darkness with a laptop and an array of lights behind him with a harder electronic sound. I did know that I was instantly taken by the music and his intensity. Earlier this year I saw him open for M83 at Club Nokia, this time he was backed by two hard hitting female drummers which definitely made it a more powerful dynamic and I was blown away again.
I was fortunate enough to speak with him the other day and he was nothing more than gracious. When I asked about his intensity on stage, he mentioned the old adage, “I like to play every show like it’s my last, since you never know”. I also asked what was the one record that changed things for him in regards to making music. “Sparklehorse. When I first heard Good Morning Spider… he played all the instruments on that record and I thought, I could do something like that and make my own thing. I even named Mellowdrone after his band, using a three syllable name just like he did”. The “he” Jonathan is referring to is the late Mark Linkous, mastermind behind Sparklehorse. I mentioned that I had known him back in the late 80’s when we worked together at a telemarketing office in LA, he was in a band called Dancing Hoods at the time. Probably dated myself there, but hopefully he got a kick out of my story.
Urs Fischer’s sculpture and installation work evokes a whimsicality with dark undertones. Much of his work features recontextualized or manipulated objects that are reminiscent of something out of of a Dr. Seuss book. His more well-known work features sculptures of wax figures with a wick that burns, slowly melting his sculptures throughout the exhibition. All that’s left of these is a pile of melted wax on the gallery floor. All of his work humorously addresses an idea of playful malleability and transformation, but also suggests a subtle grimness.