When you think of fine art, one of the last places you’d probably consider finding it is in the laundromat. Photographer Yvette Meltzer, long fascinated with the transformation of soiled to clean clothes, first sought to explore her fascination by visiting many different laundromats in Chicago. During these visits, she documented various aspects of the laundromat experience, but it wasn’t until she saw the images of dryers tumbling clothes on her computer that she knew she had captured something beautiful – animal and human forms were revealed to her through the compositions of color and texture being tossed around in the machines. Thus, Meltzer’s “Revolution” series was born, a series that transforms an everyday, mundane image into an experience of abstract mystery. Meltzer says, “What I see is not what someone else does. But people do seem mesmerized by the images and attempt to discern what it is they are looking for. People seem to have such a need for definition and tend to be uncomfortable with the ambiguous.” (via slate)
Since the first photograph, photography has ushered forth in producing a consequential depiction of truths through the containment of fleeting moments in a tangible and archival format. Instances in time are revealed as light falls upon sensitized paper, asserting the presence of each photograph’s content. The picture plane remains uniform, constricted by its own variable, physical dimensions: a synthetic simulacrum of a three-dimensional reality that will forever remain in constant flux. And yet, in spite of presenting elements of proof based within reality, the upheaval of the actual authenticity of the photograph has found itself under siege.
Through a variety of executions, the following artists working with the photographic medium twist this truism in unique and awe-inspiring ways, abolishing preconceived notions of photography through a re-presentation of the photograph. In their reconsideration of the ordinarily static picture plane, form is pushed beyond the confines of the image through the destruction, manipulation or interference of the photograph.
Unlike most sandcastles, Sandcastle Matt’s creations appear wholly organic; as if birthed from the sea, his structures resemble organisms composed of some primordial tissue, emerging like great unknown beasts from the deep. The artist uses wood, sticks, or vines as a base for these abstract visions. Later, he covers the sculptures in sand using a special technique you might recall from your own childhood: mixing sand and beach water, he creates a sort of paste, which he allows to fall from his hands in drips, which eventually dry and harden.
The artist must carefully construct the bones of the structure according to mathematical law so as to prevent it from toppling over when weighted; the arresting marriage of calculated geometry and unpredictable, organic-looking dribble results in a uniquely seen vision, one that is not easily discerned as either natural or manmade. It is, in fact, both, though one of Matt’s images was circulated on the blogosphere as a meme and mistakenly identified as the startling result of lightning hitting sand.
Like any good sandcastle, Matt’s architectural monuments allow for imaginative play. Viewers are invited to wonder, to make up stories (viral meme or no): are these the relics of some ancient, tiny civilization? The bones and flesh of a sea monster? Seen through the archway of one of Matt’s distinctive structures. the entire Boston skyline is dwarfed, silhouetted as if reflected in some strange mirror; seemingly against all natural law, his castles balance effortlessly, stretching out to the waves before them. (via Colossal)
New York-based artist Samantha Keely Smith paints abstract landscapes that resemble the swirling, unknown depths of the ocean. Although Smith’s work appear to depict real sceneries, she is inspired by inner worlds- precisely, by the energies and colors that mirror the flux of emotions.
“My images are not at all real places or even inspired by real places. They are emotional and psychological places. Internal landscapes, if you will. The tidal pull and power of the ocean makes sense to me in terms of expressing these things, and I think that is why some of the work has a feel of water about it. My work speaks of things that are timeless, and I think that for most of us the ocean represents something timeless.”
Working with oil paint, enamel, shellac, and large scaled canvases, the artist creates grand works of art that feature multiple translucent layers of color, soft but large and imposing brushstrokes, and sweeping gestures that evoke crashing waves, surging tides, and stormy floods. ( via My Modern Met)
If you regularly tune in to Adult Swim, Austin based illustrator and animator Dax Norman‘s work may look familiar to you. Evoking a trippy aesthetic reminiscent of Mad Magazine and “The Yellow Submarine,” Norman’s gifs ooze and pulse with bright, fun energy. Citing classic and current influences and favorites such as Max Ernst, Man Ray, Van Gogh, Shel Silverstein, William Blake, Neil Anderson-Himmelspach, Reverend Bobby Anger, David Olive, and Joseph Noderer, Norman creates animations informed by popular culture and the world around him, as well as animations that represent strangely and wonderfully original characters, figures, and shapes.
Norman first started making gifs by re-purposing existing longer animations into loopable snippets, but as the form started to grow on him, Norman began creating original gifs, trying to finish a new one every day. He creates both 2D and 3D animated gifs that deal with alternate and multiple perceptions of reality. Of his animations, Norman says, “I see them each as ‘little paintings,’ or ‘picture poems’ each with its own universe of movement…Playing with the looping idea, and rhythm, is what appeals to me the most. Hopefully… people can hear something in my moving pictures, even though there is no sound.” In addition to his extensive archive of gifs on Tumblr, Norman also has full video animations available on Vimeo as well as a Tumblr page dedicated to demonstrating his process of creation.
While many mediums have a constant back and forth debate between an emphasis towards using traditional, conventional methors or more recently available techniques, printmaker Carolyn Frischling does not concern herself with the argument. The Pittsburgh-based artist investigates new techniques in both image creation and printing methods, while continuing to honor the constantly-evolving history of the medium. “I’m proud that printmaking comes out of a long line of democratic, inclusive ideals, that today is at the forefront of technology and creativity.” Like many makers of prints, Frischling uses several simultaneous techniques to achieve the airy and colorful visual textures in her work, differentiated only by the image creation beforehand using computer editing programs. When asked by Beautiful/Decay to explain the benefits of working digitally versus using traditional methods, Frischling first explains, “Digital art enables me to use the same thought processes of traditional printmaking without the toxicity of using traditional materials on a daily basis.”
These moody and ethereal digital works are printed with archival inks on paper, silk, glass and aluminum, heavy with an abstract beauty attached to their process. Frischling further explains her methodology, “Digital printmaking is incredibly nuanced. There is so much more I can do that I couldn’t do in traditional printmaking, although the only reason I understand digital as well as I do, is because the thought processes are the very same. Sometimes I do miss the physicality involved in other kinds of art-making, but my art isn’t about physicality, so I think in this instance,”The medium is the message.”
Ultimately, whether created by physical process or digital manipulation, the works speak for themselves with strong compositions, moody palates, delicate forms and attest to the time spent mastering any artistic discipline. When Frischling explains, “My instinct is always to create movement and energy through use of color and form”, it is a goal separate from process and more located in ambition.
David Mesguich (previously here) is known for his enormous polyurethane and recycled plastic public sculptures, bearing line and shape work that is reminiscent of both geometric or vectorized patterns. The Brussels-based artist’s latest work, PRESSURE 1.0, was installed on an elevated freeway which is known to be the gateway to the French city of Marseilles. The artist explains, “The story of “pressure”—it’s the story of people who are on the fence, in between worlds, those who are both on the inside and on the outside. My inspiration came from two sources: a family history that steeped me in a violent, carceral universe during my youth and more than 10 years of trespassing with graffiti.”
Created with the geometric features of a woman’s face, the statue seems to stare, both blankly and longingly. Meguich describes the placement as “… a non-place where the sculpture could look in the direction of Africa and face the whole city at the same time.” Because the statue was not authorized by French authorities, it was technically illegal, but Megiuch explains that his work is as much an unorthodox ‘gift’ as it is illegal. “Pressure is a non-profit project, it was not made to be sold. As with my previous public space sculpture, LUZ 1.0 [a large-scale sculpture created for the Nuit Blanche Festival in Clichy, a suburbs of Paris], it was created as a donation to the city.”
According to writer Sara Barnes at My Modern Met, “Despite its illegal placement, the sculpture remained untouched for two weeks. After a bad storm, however, the sculpture fell to the ground and was seriously damaged. The weather lasted a week, and everyday a new part of it was broken until nothing remained” (via mymodernmet)
Chinese artist Lu Xinjian has been inspired by maps and cities for years, often collected in his increasingly large-scale acrylic on canvas series City DNA. But his newest work City Light expands on these inspirations, taking the flat abstractions and mounting them onto the wall with neon.
Using Google Earth images of the artist’s current home, the sprawling metropolis of Shanghai, Xinjian renders the map loosely in his abstract style. The resulting plans are rendered in neon on a solid black background, and run on a flash program which controls the timing of each area’s lines being illuminated. Starting with a small, centrally-located blue square, the rest of the surrounding area follows, until the entire piece is lit. Representing the rapid growth of the modern metropolis, the network of neon light tubes takes the language of city communication and visually abstracts the idea of rapid expansion. (via alwaysinstudio and designboom)