When the artist Adam Brown paints a portrait, he sprinkles cremated human remains into his palette, hoping to memorialize the dead in a way that celebrates their individualism and vitality; each image, most commissioned by the loved one of a recent decedent, serves as an alternative to the traditional urn.
After Brown’s clients submit a sampling of sandy ashes, the artist dons a pair of gloves and mixes them with paint to create personalized renditions and imaginings of the dead that span from straight black and white portraiture to dreamy colored abstractions. He carefully preserves any and all unused ashes, ultimately returning them to his client.
The project, titled Ashes to Art, poignantly aims to reconstruct the deconstructed body, fixing delicate cremains with glue and paint; in this way, his paintings work to incapsulate the entirety of the human body and lifetime into one sly smile, one glint of the eye, or one splash of color.
Brown’s ambitious body of work subverts morbid thoughts on human remains, adopting the medium to create shockingly cheerful faces, heavily textured hands, and vividly yellow flames. The idea of permanence figures prominently into the work; not unlike the popular ritualistic scattering of ashes over the sea, his landscape paintings elegantly incorporate the corporeal into the seemingly eternal earth, everlasting sky, or immovable mountains.
With each work, the artist ensures the respectful remembrance of human life with a simple inscription; lest a piece get lost or auctioned and taken for an average painting, he writes a disclaimer on its backing: this work of art contains human remains. (via Daily Mail and Oddity Central)
Porous Walker‘s “LOST” is simply hilarious, truthful and yeah, a bit sad. Through this incredibly annoying economy many people, not only in America, but around the world have found themselves in the situation depicted in this flyer. Let’s cheer up and hope that this year will bring lots of goodies to everyone, especially, you know, those with no jobs.
Amii Stewart, disco legend, and starring in possibly one of the most decadent music videos I’ve seen. I’m not sure what the pinnacle of video technology dictated in the late-late 70s but digital media artists like John Whitney were already starting to make fairly advanced films out of just graphics programming as early as the ’60s. “Knock on Wood” lyrics are after the jump if you were so inclined to watch the video and sing along…
Mixed media artist Anila Quayyum Agha has figured out how to decorate an entire room with shadows cast from a box. Laser cutting intricate patterns into a wooden cube, a light within the cube projects an intricate display of shadows that envelope the entire room in ornate design. The results are breathtaking and the philosophy behind her work is fascinating.
This project, titled “Intersections,” combines the patterning of Islamic sacred spaces with architectural aesthetics:
“The Intersections project takes the seminal experience of exclusion as a woman from a space of community and creativity such as a Mosque and translates the complex expressions of both wonder and exclusion that have been my experience while growing up in Pakistan. The wooden frieze emulates a pattern from the Alhambra, which was poised at the intersection of history, culture and art and was a place where Islamic and Western discourses, met and co-existed in harmony and served as a testament to the symbiosis of difference. For me the familiarity of the space visited at the Alhambra Palace and the memories of another time and place from my past, coalesced in creating this project. My intent with this installation was to give substance to mutualism, exploring the binaries of public and private, light and shadow, and static and dynamic. This installation project relies on the purity and inner symmetry of geometric design, the interpretation of the cast shadows and the viewerâ€™s presence within a public space.”
Nathalie Croquet is a French stylist and journalist who has cleverly recreated high fashion and beauty advertisements in an Instagram series entitled “Spoof”. Having once worked as Biba’s fashion editor and Jean Paul Gaultier’s photo director, Croquet is deeply familiar with the types of imagery that have defined such marketing campaigns, from Eric Bompard’s pink-toned whimsy to Isabel Marant’s sultry and pseudo-dishevelled aesthetic. The lighting, makeup, and styling are remarkably similar between the originals and their spoofs (the studded plaid shirt in the Eleven Paris parody appears near-identical, for example), with the critical differences lying in the models themselves: they encompass a diversity of body types and ages.
Playful and light-hearted, Croquet’s imagery reminds us of the theatricality of fashion advertising; lighting, makeup, and costumes are carefully arranged to appeal to marketed notions of high-end beauty. The “Spoof” models do a great job recreating the postures and facial expressions to reveal both the parody and the construction of the original campaign imagery. Visit Croquet’s Instagram and website to learn more. (Via AnOther)
Since my last post about Street Art Utopia’s “Best List” took off and caused a decent amount of response, I think it is important to involve the Cult’s own selection. Here you will find a carefully curated and crafted list of every imaginable kind of public form of expression and their respected historical contexts. More after the jump.