Ludovic Florent‘s new photoseries Poussières d’étoiles (which translating as Stardust) features the natural beauty of the human body in motion, capturing dancer’s poses in moments of ecstasy, distress and grace. Each photograph is highlighted by the staging, a chalk and sand floor which enhances each movement, with dust clouds mirroring the appendage’s motions to create a dramatic physical presence of their own. Florent says, “In our changing society, my photographic work is guided by a humanistic look, willingness to foreground the natural beauty of the body, free to express his grace and personality.”
The Metz, France-based Florent created Poussières d’étoiles for Gallery HEGOA, and in anticipation for the European Festival of Nude Photography in Arles, France in May, 2014. The photographer further explains his work, “‘Behind every carnal envelope hides a soul that is both sensitive and flamboyant as I try to capture in each of my photographs.’ We certainly enjoy his work guided by a humanistic look, finding expression in a series that is both, sensitive and vivid.” (via ignant)
Installation view Irreducible Complexity/ You and I and Irreducible Complexity/heart
The sculptural work of Andrea Haslerhas always created a dichotomous dynamic – push and pull, revulsion and attraction. The Zurich, Switzerland-born artist (previously featured here) has used her trademark visual medium of sculpted fiber-glass covered with wax to insinuate the human body, with equal parts inference to our insides as well as outsides.
Her newest work is title Embrace the Base, a commission for Greenham Common in Berkshire, England by New Greenham Arts. The site, which held the longest women’s protest against a site storing nuclear weapons in the early 1980’s, is rich with history and emotion. The larger pieces in Hasler’s commission recall the tents that these women protesters erected in their camp outside of the military base which now serves as a cultural meeting place.
“For the New Greenham Arts Exhibition, I have created a new sculptural body of work that takes Greenham Common’s history as a starting point, particularly with the Women’s Peace Camp with its tents situated on the site during this time. This new work also takes into account the historical perspective. as well as entwines with the recreational aspect of how Greenham Common as a site, is being used now, as well as the New Greenham Art gallery being located in the former American Army’s entertainment quarter. Metaphorically I am taking the notion of the tents which were on site during the Women’s Peace Camp, as the container for emotions, and “humanise” these elements to create emotional surfaces.
Hasler mentions that with Embrace the Base she is taking a political element as a starting point and then involving body politics. In Matriarch and Next of Kin, two tent forms, cloaked in skin-like covering, recall the tents that these protesters erected in the Women’s Peace Camp. While one tent is a full-sized replica, the other scaled down, and as the artist hints, most likely represents a mother and child relationship. Often working with skin as a loaded (and typically, simultaneously literal) metaphor, Hasler says, “It’s almost like I am taking the fabric of the tent, the sort of the nylon element of the tent, and I make the fabric, this skin layer as sort of the container for emotion, or sort of the container to hold emotion, as in the skin holding emotion.”
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.
Combining Western cinema and traditional Ottoman motifs, Turkish artist Murat Palta designed a series of images that blend the style of the Ottoman empire with films like Pulp Fiction,Alien, and Clockwork Orange. They are made to look historic and aged, and once you see past that, Palta has illustrated some of the iconic scenes of the particular film.
The Ottoman Empire, also known as the Turkish Empire, was one of the longest running empires in history. Palta’s works recall the Miniature Style of the Ottomans, which was a part of Ottoman book arts that included illumination, calligraphy, paper marbling, and bookbinding. Miniatures were usually not signed because they were not created entirely by one person. Production included the head painter who designed the composition, and his apprentices that drew the contours and then painted the scene.
Like the Miniature Style, Palta has included stylized two-dimensional characters, flattened views of architecture, and a lot of contrasting patterns. He references the Ottoman tradition while still making it his own – After all, I don’t think that the old illuminations included men beating someone senseless with a nightstick or a tiny green Yoda. (Via That’s Like, Whoa!)
Professional illustrator and graphic designer Marcello Barenghi has a long and successful career rendering visual narratives and designs. But recently his drawing demonstrations have given the Milan-based draftsman a new following, as his Youtube video series routinely tops over a million hits per video.
With stop-motion demonstrations showing how Barenghi renders commonly found objects ranging from crumpled snack chip bags, Euro coins and more challenging objects like mirrored silver teapots, viewers can watch how a master draftsman achieves his trademark photorealistic results. Although few students of pencil, graphite and airbrush will ever achieve the results Barenghi does, they can at least see the unlimited potential of the blank page when the artist demonstrates each step by step video. (via gizmodo)
Artist Ivan Puig likes for his work to surprise and amaze, and two of his series, Fed Up and Artificial Growth do just that. Using a car and chair, respectively, he gives the illusion that these very solid, massive objects have sunken into the ground, as if they are in quicksand. The preciseness of Puig’s work and the fact that he’s cut the chair backs and Volkswagen Beetle at a perfect angle add to the believability of it all. While the artist strives for his work to have humour, he wants the viewer to read it in multiple ways, and glean various metaphors from his playful execution.
His installations are not only meant to delight us, and the sinking chairs in Artificial Growth have a more serious message. This piece comments on educational doctrines and their power structures that are present in Mexico. With this series, he brings to light the idea of the artificial education – like the lies and half truths taught and passed down to students which we only realize are wrong many years later.
The Super Bowl is perhaps the epitomy of America’s obsession with sports, television and mass entertainment, with a viewing audience of over a 100-million each year. Chad Langager at Sporting Charts notes the importance of the day, “There is so much attention paid to the game that 30-second commercials now command $4 million, which is equal to $133,333 per second, and Super Bowl half-time show now features some of the biggest acts in music. It has become a definite moment each year.”
But with each passing Bowl, perhaps one of the over-looked yetlasting memories is the art that each lucky ticket-holder carries with them. The Sacramento Bee took a trip through history yesterday by examining 48 Years of Super Bowl Tickets, documenting each ticket throughout the years for every season’s Big Game. While the iconic Lombardi Trophy is prominently featured on most tickets, several still offer sculptural, design-focused and painted images related to the grid-iron (though most of the artists responsible have become extremely hard to credit and some lost all together). It is an interesting look through the history of design, as well as to see the dated futuristic leanings often paired with athletic grandiosity on a massive stage. (via the sacramento bee)
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)