Akira Nagaya is a Japanese artist whose intricate cut-paper creations largely depict the beauty of nature. They are so skillfully done that you might be surprised to learn that Nagaya is self taught in paper-cutting, also known as kirie in Japan. He first discovered this type of art about 30 years while working at a sushi shop. There, he had to learn sasabaran, which is a technique used to create decorations by cutting slices into bamboo leaves. Nagaya found that he was naturally talented and enjoyed the process, too.
These small cut paper pieces fool the eye into thinking that they’re something like energetic pen sketches or decomposing leaves. The precise craft makes them appear as though they’ve been cut by machine, not by hand, because of the incredible, minuscule details.
Although the artist had been creating these pieces for years, it wasn’t until much later that his work was discovered. Eventually, he opened his own restaurant and displayed his kirie on the walls. A local newspaper came to write about the establishment, and while there remarked on his artwork. They encouraged him to show it in galleries, and you can follow Nagaya on Facebook to see his new cutouts. (Via Spoon and Tamago)
New York-based artist Brian Dettmer’s sculptural, multi-layered books are so intricate that they require him to use surgeon tools in his process. He carefully carves illustrations and text out of old medical journals, dictionaries, maps books, encyclopedias, and more. Nothing inside of the books is implanted – pieces are only removed. The idea is that these subtractions will reveal new histories and memories now that the story and context has changed. Dettmer sees his work as a collaboration with the existing work’s past creators.
He writes about his creations, which are a comment on the changing landscape of technology. From Dettmer’s artist statement:
The age of information in physical form is waning. As intangible routes thrive with quicker fluidity, material and history are being lost, slipping and eroding into the ether. Newer media swiftly flips forms, unrestricted by the weight of material and the responsibility of history. In the tangible world we are left with a frozen material but in the intangible world we may be left with nothing. History is lost as formats change from physical stability to digital distress.
The richness and depth of the book is universally respected yet often undiscovered as the monopoly of the form and relevance of the information fades over time. The book’s intended function has decreased and the form remains linear in a non-linear world. By altering physical forms of information and shifting preconceived functions, new and unexpected roles emerge. (Via Demilked)
At the Joseph Gross Gallery on September 11, 2014, Brooklyn-based artist Ted Lawson will debut his solo show entitled The Map Is Not The Territory. The new series of work will consist of three dimensional wall-mounted pieces and free-standing sculptures made from MDF wood, brass plate etchings, and large-scale drawings rendered in the artist’s own blood. Yes, blood. The bodily fluid will be fed intravenously to a computer numerical control (CNC) machine using a technology similar to a 3D printer.
The idea behind using blood in conjunction with the computer is to challenge the notion that an artist whose practice utilizes technology is somehow disconnected from their work. Afterall, they aren’t crafting it with their hands; a machine is doing it for them in the form of coding, etc. Here, Lawson will give up part of himself for his work, intimately tying the worlds together and making it hard to argue otherwise. (Via Lost At E Minor)
Beauty is a treasured thing in our culture, and Turkish artist Merve Morkoç, aka Lakor mis, turns this ideal on its head. At first glance their paintings are of seemingly young, glowing-skinned models, but a longer gaze reveals that these subjects all have something seriously wrong with them. Coupled with their well-coiffed hair are fantastical disfigurations that you’d see in a horror film. Warped eyelids, caved in faces, and rashes exist on these young women.
Any sort of pleasant response you initially had is probably gone, and the works are like a train wreck that you can’t look away from. The strange details are intriguing, and it speaks to Morkoç’s expert handling of the medium that they are easily able to fool us into thinking something that’s repulsive is actually beautiful. (Via Hi Fructose)
If you’ve ever visited a thrift store, you’ve no doubt seen the wonderfully-awful paintings that people have given away. Completed paint-by-number sets, idyllic landscapes, and amateurish attempts at impressionism are common sights. Artist David Irvine takes thrift store paintings and enhances them with additions of his own. He brings in characters from popular culture to these compositions, such as Darth Vader, the Marshmallow Man, and Bambi. Irvine maintains the original style of the paintings when creating the mashup, making the figures look as though they’ve been there all along.
Some of the paintings are subversive and a feature villains about to tear through the town or city that they’re in. Other times, the characters are helpful, like the Storm Trooper that’s helping with yardwork. Twisted or not, these works are funny, and the kind of artwork from the thrift store that you’d actually want to display in your home. (Via Demilked)
German photographer Loretta Lux captures surreal portraits of children, portraying them in a way that makes them appear as if they’re porcelain dolls. Young boys and girls stare towards the camera and with expressions that you can’t get out of your head. As they look beyond or at you, their large eyes look as if they know deep, dark secrets. Pastel and faded colors contrast with the mysterious feel that these works evoke.
Lux studied painting at Akademie der Bildenden Künste in Munich and uses this influence in her images. Some pieces take up to a year to complete, and her process involves a combination of photography and digital manipulation. She’ll strip the background and then place her subjects into muted, minimal environments. The flatted backdrop and realistic foreground confuse your eye and help craft these strange images.
At first glance, it looks like these embroideries by artist Sula Fay pair thread with your average stitching techniques to depict body parts, words, and ancient sculptures on circular vintage Victorian-era doilies. That fact alone makes them unconventional in the traditional sense of the craft. But, the artist adds one more special touch to make these works all her own – strands of her hair. Fay threads a needle with her locks and passes it through the aged fabric. She describes her reasons and process:
As an adolescent, I struggled with my hair. Being of half African and Puerto Rican descent I inherited very naturally curly hair. Alongside my white skinned, long straight haired friends, I felt different and unattractive. I went through many gruelling hours brushing, combing, and straightening. That process was very difficult and tedious, just like the process of my embroideries. To embroider with my hair I have to straighten each piece separately. (Via Booooooom)
Often treading between reverence and ridicule, the mystifying allure of art that reiterates sexual transgression remains suspended within a deviating purgatory of the sacred and the obscene. Buoyantly drifting within the underbelly of normative culture, the erotic and transgressive create a synergetic relationship in a strike against societal conventions. Through a crude presentation of social perversions, the atmosphere created through sexually transgressive art permits an insight that challenges not only sexual precepts, but invites a critique of human behavior irrevocably influenced by social structures. In an explosive resurgence of suppressed sexual impulses, the following artists create frantic, tense and exquisitely obscene renderings of deviations and sexualized social distortions.