In a series titled Future Fatigue, photographer Bryn DC explores feminine power and the battle against gender inequality. Collaborating with a group of female filmmakers, writers, artists, and activists, he portrays “girl gangs” in post-apocalyptic, war-torn environments. Each one is garbed in ways that challenge conventional notions of femininity; wearing ragged clothes, armed with deadly weapons, and their faces streaked with dirt, they manifest and critique a world polarized by violence and identity binaries.
Bryn’s images are color-drenched and cinematic. Blending composition and costume together in story-filled images, he elucidates his themes in ways that are visceral and metaphorical. A lot of his work derives from personal anxieties about the destructive power of hyper-masculinity, in the way it is portrayed in contemporary culture; as he explains in a statement provided to Beautiful/Decay, he fears a world “where violence and blind progress are seen as necessary, and are often celebrated.” In the fictional apocalypse of Future Fatigue, gender binaries are opened to public discourse while the feminine is empowered as its own mode of influence.
Visit Bryn’s website to view more of his works, which often breach on his fascination with the pulls between mythology and reality, life and death. His Instagram profile is also a good resource to learn more about his projects.
With a toxic mix of oil-based paint, the surfaces of artist Claire Falkenberg‘s large-scale photos are transformed into mysterious and eerie clouds. The ominous, milky clouds obscure the space directly in front of the photographer, delaying the viewer’s ability to understand what lies just under the surface of each picture plane. This inclusion is generous, because it offers another layer of surface detail to the viewer who is willing to inspect the ghostly swirls of oil paint. The slick, snapshot-style images of trash slowly begin to reveal themselves—vanishing almost entirely at the center, and bringing into question just exactly what Falkenberg has chosen to cover up in her series.
Artist Joanne Arnett‘s artwork reproduces mugshots in a uniquely meticulous way. She painstakingly recreates these images as woven textiles. Mixing thread a wire, the result is similar to a shimmering newspaper photograph. Mug shots are generally thought of as utilitarian, empty of aesthetic, and quickly forgotten. Arnett wittily juxtaposes this against the form of a tapestry – valuable textiles often passed on as heirlooms. Interestingly, the title of each piece is the accused’s sentence. For example, the title of the first image is “Two Years and a Fine of $2,000”.
Cod.Act’s Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir stands on tilting platforms, constituting a living, sonorous body. That body expresses itself through various physical states. Its plasticity varies at the mercy of its sonority. It varies between abstract sounds, repetitive sounds, and lyrical or narrative sounds. The bodies of the singers and their voices play with and against gravity. They brush and avoid each other creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and burst into lyrical flight or fold up into an obsessional and dark ritual. The organ travels from life to death in a robotic allegory where the technological complexity and the lyricism of the moving bodies combine into a work with Promethean accents. (via)
We’re glad to introduce, via the website building platform Made With Color, new artists weekly. Made With Color is an interactive website builder helping creative people design their portfolio without a complicated set up. The templates are minimalistic in their structure and their colors, allowing the eyes of the readers to focus on the art pieces. This week we’re excited to share the work of Made With Color userEmmett Potter.
Vibrant colors and figurative shapes live in Emmet Potter’s art pieces. The artist uses mid 20th century comic graphics, advertisements, found objects and photography. His subjects therefore become mixed media pieces blending collage and paint. He calls them ‘handmade ready-mades’. Characters in action involving guns, missiles, love and war in a vivid andexpressive environment. The content depicted by Emmett Potter is inspired by Pop culture and Jungian archetypes. A chosen process to help increase communication with the mass and unfold collective consciousness. The rendering takes the form of traditional canvas paintings or unusual sculpture composition.
In a culture addled with conspiracy theories and apocalyptic prophecies, photographer Thomas Brown thinks a red herring could do us all some good. Exploiting the hyper-paranoia he sees in today’s society, Brown’s “Meteor” series is a collection of clean, tranquil images resembling doom-wreacking meteors at first glance, that upon further inspection manifest as simply crumpled pieces of paper. Just like the overwrought fears that constantly inflict anxiety on our population, these “meteors” too may initially appear violent and threatening, but ultimately both prove to be as inconsequential and harmless as discarded pieces of paper.
I may be a little late on the band-wagon, but I couldn’t not post about Keith Tyson’s solo exhibition at the Blum & Poe gallery, it’s way too good. The buildings large brick structure and Tyson’s sizable work are the perfect combination. The height and natural lighting in the gallery space is awe-inspiring.
This exhibition includes three bodies of Tysons work: Nature Paintings, Operator Paintings and Studio Wall Drawings. All three projects explore the “paradoxes about the nature of being” and touch upon the overwhelming link between humans and the complex systems that are constantly surrounding us. My personal favorite is Tyson’s Operator Paintings. For this project he utilizes mathematical theories and cosmological systems as a basis for his illustration, calling attention to the limitations and differences between two disparate forms of communication: math and art.