Eiko Ojala(whose cut-paper illustrations were previously featured here) crafts quietly-detailed work which straddles the lines of art, design and commercial illustration. Beginning with hand-made illustrations, Ojala then combines physically cut, layered paper and occasionally digital to continue reducing the images until they are clear, concise and minimally fantastic. Subtlety seems to be the strongest method of delivery for the Tallin, Estonia-based illustrator and graphic designer, who describes himself as one who “ likes to study the forms of shapes, and to work closely with light and shadow. He likes to keep his illustrations minimal and well-advised.”
This most recent blue series was created for Intel as an effort to show the insides of anything, and seems a perfect match for the illustrator’s deceptively simple trademark style. Ojala has been increasingly recognized for his commercial efforts, having been been nominated in 2013 for a Young IIllustrators Award at www.illustrative.de, a YCN professional Award and ADC Young Gun. (via hi-fructose)
In artist Reiner Hansen’s series Facial Fallout, she paints self portraits that each depict a different persona. In some, she plays a character, like a reality star or the girl next door. In others, it’s another version of who she already is, but with a different hair style, skin sunburnt, and more. All of these are a departure of her true identity, which itself is fleeting and malleable based on who she was trying to be. Hansen explains:
Each is based on, or rather mapped onto, my own features and characteristics. My self image is re-conceived as these other women, who live in a world entirely different from my own. There is a process of transformation into involuntarily ‘stereotyped’ notions of who these people are or might be, a sort of method acting in painted form, leaving a history of performance in each image. Simultaneously a game that is playful as well as a meditative speculation on a fabricated ‘other life’, these images are partly about investigating the idea of ‘escape,’ not just away from ‘the self’ and into anonymity, but also away from the art historical traditions of the self portrait and its established practice of depicting the artist. Instead, concealing my self behind imagined personas, I attempt to escape identification.
These portraits are humorous, and part of the joy of looking at Hansen’s work is finding glimpses of her true self within all of these paintings.
Artist Saint Hoax’s series War Drags You Out imagines prominent world leaders dressed as drag queens. The digital illustrations depict the likes of Obama, George W. Bush, Vladamir Putin, and even Osama Bin Laden getting dolled up. Animated GIFs show the primping process, which includes drawing on eyebrows, contouring the face, and adding fabulous accessories. And of course, like any good drag queen, they have stage names, too, like Putin’s “Vladdy Pushin,” and Bin Laden’s sassy moniker, “Ossie B.” The idea for this work came from Saint Hoax’s first visit to a drag show. They explain:
…I was struck by the richness of this glamour oriented culture.
I took a minute to actually look at the faux queens and deconstruct their main components.
The recipe for an iconic queen:
1- Flamboyant name
2- Fierce persona
3- Defining outfits
4- Personalized hairdo
5- A trademark feature
6- One hell of a PR team
I then realized that it takes that same exact effort to make a leader.
A rush of images containing Hitler’s mustache, Bin laden’s headgear, Obama’s campaigns, Saddam’s narcism crossed through my mind. It got me thinking that behind every “great” man, there’s a queen.
While Saint Hoax’s unique project is over the top, it’s had some serious consequences for the anonymous artist. Before the Osama Bin Laden painting (first in the series), was to be shown, they released a Youtube video announcing where the work would be displayed. Because of the video, Saint Hoax received over 70 death threats, and the painting was destroyed at the airport while in transit to its location. (Via Huffington Post)
Although Gowri Savoor experiments with dozens of different mediums, ranging from drawing and painting to mixed media sculptures made from fabrics, woods, her Seedscapesseries might be the most immediately powerful. Taking various plant and fruit seeds which are pinned against boards like butterflies, in more geometrically-challenging patterns and formations, the sculptures resemble other natural forms, such as waves, sound-waves and snow or sand dunes.
The Leicester, England-born artist currently lives and works in Vermont, USA, where she gathers the various seeds used as materials in her metaphorically ephemeral works (including pumpkin, apple and sunflower). Says Savoor of her loaded-material choice, “In themselves they’re very fragile. No matter what I do, the pieces will continue to decay. There’s a human sadness as well, that everything will eventually die.” (via junk-culture)
Before he was the Prince of Pop Art and arguably the biggest art star on the planet, Andy Warhol was one of the most sought-after graphic illustrators in Manhattan. Years before he designed two of Rock and Roll’s most iconic album covers, Warhol was responsible for a series of recently recovered Jazz record covers for Count Bassie, Thelonious Monk and Moondog.
Rendered in his then-trademark ‘blotted line’ style (a technique Warhol mastered before screenprinting, where a single line of heavy, beaded ink was drawn on one sheet of paper, and then pressed against another which created a blotted monoprint), these whimsical and funky covers graced some of the best jazz albums of the 1950′s. The quality of Warhol’s highly trained freehand drawings separated him from other commercial illustrators of the day, but one of his many secret weapons was his mother’s gorgeous script writing, seen heavily in the looping, colorful script featured on The Story of Moon Dog (above). Warhol employed his mother’s lovely writing to essentially double his work-load, a precursor to his loose-authorship creative policy that would become commonplace later in his Factory days. (via dangerous minds)
Melbourne-based artist Ollie Lucas creates works where colors swirl together with an almost preternatural smoothness, like oil diffusing in water, with more jagged and hard-line separation. Lucas says, ‘My work has always had graphical and clean elements to it. A past life as a graphic designer is to blame there’. Creating works that span painting on enormous wooden spools, to digital works on print and more recent explorations in glitch animations, Lucas explains his influences, ‘Exposure to the graffiti scene in Melbourne has made me question harmony in my work, I have a love for filthy, dirty and weathered paint splattered surfaces, but at the same time I crave clean, modern, hardline geometrics…This is what drives my practice, combining two visual elements that are polar opposites in search for a harmony that i may never obtain.‘
Lucas work has often confronts two seemingly-opposing forces, graffiti and graphic design, painting and printmaking, natural landscapes with digital glitches, and blends them together. When asked how his work has changed leading up to his solo exhibition Digital Landscapes,at Pierre Peeters Gallery in Auckland, New Zealand, Lucas explains his more recent explorations and realizations in printmaking and digital creation. “It’s the first show I’ve done that is 100% digitally created. I’ve always used digital processes as a starting point in my work, however I felt a finished work needed the element of ‘hand-made’ to make it unique, to separate it from the mass produced. Since creating hundreds of drafts and moving through the paper choice/proofing and printing process I’ve come to realize a print can be just as unique as a painting.”
Though many see printmaking and painting differing in both result and creative impulse, the artist explains the harmony and connection between the two, giving value to both,“Although I have worked with many mediums in the past I still consider myself a painter, mainly because I still think like one and approach my work like a painter would. I think my work reads like a painting also.”
Ollie Lucas’ current exhibition, Digital Landscapes is on view at Pierre Peeters Gallery in Auckland, New Zealand, from now through March 5th, 2014.
In 2004, artist Kim Alsbrooks began painting regal portraits on discarded cans in a series titled My White Trash Family. The work, which features both male and female subjects dressed in elaborate wigs, stately ascots, and enormous hats, is a juxtaposition of literal trash and fine portraiture. It was as initially inspired by Alsbrooks’ friend, a women’s history professor, who pointed out the historical biases that are present in art. In response, Alsbrooks’ tiny paintings mimic those that you’d find in museum collections. The fact that these exquisite works are produced on trash rather than quality materials is both ironic and amusing.
My White Trash Family is prolific; Alsbrooks has produced over 600 paintings since it started. All beverage cans are pre-flattened, mostly by passing cars or trucks. She describes her technique, writing, “One cannot flatten the trash. It just doesn’t work. It must be found so that there are no wrinkles in the middle and the graphic should be well centered. Then the portraits are found that are complimentary to the particular trash. Generally I depict miniature portraits from the watercolor on ivory era (17th-18th century more or less). The trash is gessoed in the oval shape, image drawn in graphite, painted in oils and varnished.”
Part of the success of this series is found in the dedication to craft, and the fact that she paints miniature portraits really well. But, what ultimately makes these works appealing is not necessarily tangible. The reference to high society and its traditional paths challenged by cheap, “lower class” items is instantly recognizable and relatable at a time when the one percenters rule the world. (Via Booooooom!)
New York-based artist Lee Price paints realistic portraits of women as they are caught in intimate moments consuming sweet treats and decadent desserts. They are either in bed or in the bathtub, both places where eating is seen as somewhat taboo (aside from the occasional breakfast in bed). Here, we are the voyeur, gazing at not only their location, but what they are eating. In a short statement about her work, Price writes:
In this society, there’s so much pressure for women to be thin. We’re not supposed to have appetites – and not just for food, but for a lot of things. We’re the givers and not the consumers, and I think some of my recent paintings are about the women staring at the viewers and saying, ‘I’m not going to censor my appetite.’
The women in Price’s work are unapologetic about what they enjoy, and it ultimately seems like they are liberated doing so. Many of them look straight at us instead of shying away. As she insinuates in her statement, Price’s work touches on the repression of desire, and the fact that they match our gaze communicates that they are taking control. (Via iGNANT)