Canadian artist Erin Loree crafts luscious abstract paintings that have an incredible sense of light. The vibrant pictures feature incredible blues, magentas, yellows, and many more spread over a canvas. Loree varies her approach to texture, with some areas of smoothly-applied paint and others with short, thick brush strokes. They work together and form alluring artworks that resemble portraits and at times, landscapes.
Considering the scale of Loree’s strokes, the subjects that she’s painted seem to be captured at a close range. Large, sweeping lines form vague outlines of heads and shoulders, and with names like Energy body, it’s hard not to associate them with that. But, instead of giving us the an idea of what this physical body looks like, Loree uses gesture and intense hues to communicate an inner spirit or feeling. Some of her works appear as if they’re glowing from within - the essence of an intrinsic light that exists inside living beings.
Italian sound designers Fabio Di Salvo and Bernardo Vercelli, together known as Quiet Ensemble, create work that features insignificant sounds that we wouldn’t give a second thought to. They focus their energies on the “greatness of small events,” and the subject of their most recent project is a lamp. Specifically, lamps used to produce a musical event. Titled The Enlightenment, the duo calls this performance a “hidden concert of pure light” that uses a bevy of different lighting elements like stage lights and high-powered bulbs. “Instead of violins are neon lights, to replace drums are strobe lights and instead of clarinets we will see theatrical headlights illuminating the audience,” they explain in the video’s description.
The Enlightenment was performed in October for Bologna’s Robot Festival, where it included 96 lamps. Each was fitted with its own copper coil that received various electric currents set at specific intervals, as well as a sensor. This produced an electromagnetic field that was captured and turned into sounds. Salvo and Vercelli accompanied the buzzes by modifying and amplifying each lamp’s electric output in real time. The result is a clash of blues, greens, and yellow flashes with the poetics of a familiar buzz. (Via The Creators Project)
UK-based artist San Pierre has a slightly unorthodox method when creating his work. Instead of displaying a simple image in a frame, he draws designs over top of the print with threads that are secured with nuts and bolts. These intricate, criss-crossing strings form delicate shapes that alter how the viewer interprets the image. Depending on the depth and color of the strings, the artwork might appear diffused or distorted with geometric fragments.
Pierre’s use of thread adds not only a physical layer onto his work, but a conceptual one as well. His piece titled Discontent No. 6 (top two images) features a dark figure who looks as though they’re trying to gingerly find their way. With the technicolor strings, however, it now reads as a barrier or a wall. Instead of freedom, this being is trapped. (Via My Amp Goes to 11)
Artist Yoon Ji Seon crafts her collection of self-portraits by intricately stitching photographs with a sewing machine. It’s an ongoing series titled Rag Face, and her facial expressions change with every piece. While they appear to us as similar-looking individuals, Seon changes it up with different colors and hairstyles. Despite these idiosyncrasies, each portrait has the same features. Most notably, these are hanging threads that mimic hair or tattered rags. The multiple layers of colors and stitches give these works a painterly effect, as if they are gestural and loosely handled; Seon obscures her images by working with her materials in this way.
In 2015, the artist will have a show at the Yossi Milo Gallery in New York City. They describe the her underlying concepts:
By sewing the photograph, a second image is generated on the back that is both a reflection of the front and a completely new image. The two images, combined with the original photograph as a third representation, recall the Buddhist theory that an object exists in many forms and there is no true form. Yoon Ji Seon’s work addresses Buddhist ideology deeply rooted in contemporary Korean society and confronts issues such as plastic surgery and suppression of speech. (Via My Amp Goes to 11)
The candy-colored works by New York-based artist Jaz Harold have a subversive nature about them. Although they use pastel colors have soft features, you can’t avoid the sexual undertones and overtones that are prevalent throughout Harold’s sculptures. We see grotesque displays of rotting skin, nippled pom poms, and sensual lips with just a hint of tongue. She writes about her charged works, stating:
Using an aesthetic that consciously appeals to child-like naïveté, Jaz’s work softens the emphasis on the ego, ritual, intimacy, and stigma that society generally attaches to sex.
Cherry blossoms (sakura) are a perfect balance of sexual innuendo, beauty, and innocence. The cherry blossom, symbolizing love in many cultures, adds an additional element in a body of work that covers both areas- an innocent love, and a simple uninhibited lust.
Harold makes the pure not so pure, perhaps in an attempt to scramble the visual culture that we’re used to, or as a way to offer a confusing reflection onto being young and learning about sex/being sexual. (Via Asylum Art)
Artist Peter Madden splices tiny elements to create large collages that are a dizzying combination of imagery. Using pictures extracted from encyclopedias, National Geographic magazines, and found photographs, he arranges all of the disparate pieces to form detailed compositions. The large groups are suspended on a transparent background, as if they are capture a moment in time before everything falls apart.
Madden’s collections create different narrative by virtue of the individual elements’ pairings. Some of the things included in his collages include: exotic birds, monkeys, the letter “m,” fishes, and clocks. They are often formed into some sort of larger shape, such as the outskirts of a giant hole, as if it’s surrounding the eye of a tornado.
The use of so many different pieces and the meticulously-constructed explosion-looking compositions feel as though we’re looking at windy, inclement weather that’s strong enough to make these pieces whip through the air. (via Inkult)
Artist Harry Roseman takes the ubiquitous material known as plywood and with careful cuts and placement, creates the illusion that this rigid material is pliable. The large pieces include “folds” that make them look as though they are textiles. Roseman uses a single piece of wood and mismatches its grain to break up the visual monotony; it fools us into think that there’s a back and a front to this “fabric.” The rigidity is reminiscent of a plastic camping tarp, but it’s still impressive at how, with relatively few cuts, the pieces are believeable as something other than what they’re made of.
These sort of observations and overall sentiment is part of what Roseman is trying to achieve in his sculptures, writing:
The subjects of my work are the bend of a curve, the conjunction of edges, the turn of a fold, the weight and nature of objects, the conjunction of idea and object, the way an idea sits in an object and next to an object and the way surface can obscure and also reveal. One of my aims is to close the distance between thinking, looking and making, to the point where it is hard to tell the difference.
Hedi Xandt is a multidisciplinary creative who has a formal graphic design education, but doesn’t see himself limited to this field – his work takes the form of fine art paintings and sculptures. Xandt’s three-dimensional pieces are visually powerful and conceptually compelling. They feature busts and skulls composed of gold-plated brass, polymer, distressed black finish, and marble. The gold acts as an accent that adds an element of terror to the work, such as giant spikes or dripping blood.
The skull and bust are symbols of both art and humanity, and the aggressive nature of Xandt’s sculptures makes it appear as if he is rejecting these classical notions. The sleek and stylish “killings” coincide with his philosophy about creative spirit. Instead of mastering one thing and sticking to it forever, Xandt favors a more fluid approach, writing:
I think that the main and most important aspects of my work are creativity and concept. Being permanently on the experimental side of thinking and creating, I seek to add to my skills with every piece I begin. Learning-By-Doing, this awfully overused term, applies to me just as well as Doing-By-Learning. The unison of knowledge and skill provides me with inspiration and a broad foundation to be used as a starting point for any kind of project. (Via Inkult)