Kristian Burford’s art installations meditate on the postmortem state of sexual arousal without a partner present. Nestled in a messy realistic setting, each carefully constructed wax figure seems to sigh inward, recollecting him or herself after an erotic whim has been satiated. However, the intention does not stop there: it seethes and penetrates with primal implications. Encountering each diorama, our own interior worlds are challenged and heightened as we find ourselves cast to confront not so much nudity, but even more so, our own erotic inclinations as possible voyeurs.
Project B unearths vintage photographs from the margins of society, presenting rare originals and printing large format limited editions to the public for sale. The artists are anonymous / unknown and this is exactly the curatorial allure. Whether you’re a collector, designer, or everyday art enthusiast, this project is not about capturing the honored. It’s about appreciating the medium’s forgotten past and exploring its throwaways. The personal and technical flaws are just as endearing as the mysterious people who elusively inhabit these cryptic realms.
From Instagram to the Flickr, clenched nail art shots are ubiquitous– ranging from classic solids to wild patterns; however, I’m pretty sure Alice Bartlett holds court as best in show. Moving beyond simple fashion trends, Bartlett artistically installs miniature scenes on the tips of her fingers: clad green flocking covers each nail, creating a tranquil resting place for tiny figures to contemplate the massive scope and delicacy of the world.
“I started as a furniture-maker, but eventually felt limited by conventional notions about what furniture was supposed to look like and how it should be built. I now approach my work fundamentally as sculpture, but likewise have resisted passing over the line into pure or nonfunctional form.” – Michael Coffey
According to Michael Coffey, design is not just about art. It’s also a form of “problem solving.” He sees commissions as creative collaboration– loving most when patrons desire something entirely new, more different than his previous work.
As far as process is concerned, Coffey begins with a small wooden model, then develops a design on paper with set dimensions. First cuts generally begin with the buzz of a chainsaw, followed by the use of smaller, more refined, cutters and discs. Part of the fun is figuring out which tools will service the work best. Click on the video after the jump to see more of his work and philosophy.
Marco Mazzoni’s work softly drips with an exquisite ease of darkness. From blooming faces where birds gather to a rabbit draining with butterfly wings, each image surrealistically depicts folklore infused with spiritual healing properties that twist and twirl with our own imaginative connections to nature.
To elaborate, Jonathan Levine Gallery notes, “Mazzoni’s imagery references herbalist traditions and Sardinian folklore of mystical seductresses who enchant, curse and cure. His body of work is a tribute to the legacy of female healers throughout history. These women held an important role in medieval communities yet their ancient knowledge of the natural healing properties of medicinal plants was widely feared by the Church, viewed as witchcraft and cause for persecution.”
Just when you thought Banksy was the real trickster of the art world, along comes . . . Hanksy, the puntastic street fartist. His use of satire not only challenges the smug, but playfully subverts the current street art standard with a necessary dose of light antagonism.
Check out the video after the jump to see a short documentary about Hanksy’s mysterious persona: his meager “greeting card” beginnings and current mission statement, which centers on a dream of meeting Tom Hanks.
Suellen Parker builds each character from unforgettable moments of strangers or friends. First, she starts with sculpting the shape from plastiline clay before photographing it with a blank backdrop. Then, simultaneously, she scavengers for props, walls, or environments that might suit a certain character well and shoots those too. All of these images are finally loaded into a computer, where the art of merging and manipulation occurs. Skin tones are “digitally painted” and human faces technologically blend with clay while backgrounds stitch together to create a new imaginative world.
Of Letting Go, her most recent series collected here, Parker strives to twist not only mediums, but also gender roles. She suggests her characters concretely and conceptually have a fine blend of both, and states, they “are attempting to find a sacred space, a place of vulnerability, a place where they allow themselves to be really seen. By quieting one’s life, even momentarily, an opportunity is presented to learn truths about oneself. By engaging in private play, one is able to let go of expectations and rules. The result is a private and truthful moment that may be enjoyed without fear of judgment or consequence.”
The photographs of Matthew Monteith‘s series Guardare turn the subject back on to the viewer. His images depict people explaining, gazing at, and otherwise admiring art. When I first heard about the series I was prepared to be annoyed with the pedantic gestures and expressions of people acting smarter than thou. However, the photographs are surprisingly endearing. People are visibly moved, sincerely engaged with the work often just out of frame. Guardare perhaps suggests that the art in a gallery doesn’t happen with the work but between two viewers discussing it.