Paul Rousso’s Larger-Than-Life Crumpled Paper Sculptures

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Artist Paul Rousso spent part of his career as an art director and freelance illustrator for big companies like Revlon, Clairol, and Bloomingdales. So, it’s fitting that his recent body of work relates to pop art and features realistic, larger-than-life sculptures of discarded candy wrappers, magazine pages, and money. He delicately forms acrylic into folds and creases of paper, and paints it to look like it’s been beat up, stepped on, and generally seen better days.

Rousso is specifically interested in these small pieces of ephemera that mean so much to us. From his artist statement:

Ever since I was a child I have been fascinated by the endless oscillation of the human condition through text and imagery. As alternating replicas of our day-to-day become transformed by the inexplicable need to create, I endeavor to illuminate the imagined, effervescent edges of our all but invisible lives through the flat, two-dimensional subject matter that is all around us. As these shifting forms become distorted through the lens of history, my work inscribes an epitaph to the printed reality that was our past existence.

By blowing up this forgettable part of popular culture, Rousso makes it inescapable. It’s in your face and won’t be ignored, reminding us about the obsessions that we have with it and eventually (try) and forget. (Via PICDIT and mashKULTURE)

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Byoungho Kim’s ‘Progression of Silence’ Engages Sight and Sound

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Byoungho Kim‘s The Progression of Silence engages sight and sound, using an aesthetically and aurally pleasing repetition of bells. A site-specific installation, Kim constructed the massive work from brass, piezo, signal wire and a sound controller, to hang in the spiral stair case of the Johnnie Walker House, an arts exhibition space opened in 2013 buy the famous whisky distiller. The piece hangs from the roof of the building down to the floor, engaging the entirety of the architecture, and with sound, the people inside the building. Says Kim, “One of the “materials” I like to use is sound. The essence of sound is the vibrations of frequency, and these vibrations are often seen as geometric patterns to the eye. Through the process of changing these geometric patterns, namely modulation, they become sounds for the artworks.”

Kim fully explains his process, “My work is an approach toward the rationality that was spontaneously generated with the progression of civilization such as systems, standards and modules. The unitized and systemized material/immaterial elements become the material of my work. The output created from my materials poses questions on the essence of life as well as being a study on human nature.” (via myampgoesto11)

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Greg Briggs’ Documents The Nameless Faces That Clean Galleries And Museums

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Australian photographer Greg Briggs‘ new photoseries Melbourne Cleaners highlights the often nameless faces that clean and restore the seemingly untouched galleries, theaters and museums. By focusing on the people who keep these spaces pristine, Briggs not only acknowledges the work of these people, but also takes the viewer behind the scenes to an even more quite, contemplative place, rarely seen by most museum-goers.

Taking place via a virtual tour of important architecture and places throughout Melbourne, Australia, Briggs’ photoseries was captured over six months. Capturing these workers who generally work alone, they are seemingly oblivious to the camera, and are caught in intensely private moments alone with their work. One cannot help but notice how these abandoned, quiet, spaces might be a better way to actually appreciate all the works of art we often walk right by during busy open hours.

Katie Hosmer at My Modern Met writes, “The artist captures what seem like voyeuristic moments as cleaners go about their work in some of the city’s important and iconic buildings including St Paul’s Cathedral and The Queens Hall, Parliament House. Surrounded by classic architecture andfamous artwork, each individual concentrates on the task at hand and seems completely unaware of the camera’s presence. Viewers can almost hear the low hum of polishing machines, the soft whoosh of feathers dusting across the nooks of a picture frame, and the splatter of bottle spraying cleaner along the surface of glass.” (via mymodernmet)

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Mario Zoots’ Modernly Surreal Collages

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Collage inherently involves nothing less than altering existence. By taking found imagery, Mario Zoots makes changes both hand-made and (occasionally) digital to alter the perception of the everyday, and continue their evolution towards new definitions. The Denver, Colorado-based Zoots is on the forefront of the modern collage movement, and was featured in Gestalten’s recent The Age of Collage: Contemporary Collage in Modern Artthe definitive investigation into how collage has become one the most vital forms of current visual expression. Separate from the concerns of any loosely-affiliated movement, Zoots describes his own practice from a more personal perspective, “I would like to think that my work is about tapping into the unconscious and setting up parameters to allow chance to work its magic.”

Typically focusing on the human figure, and often in portraiture genre, Zoots utilizes geometric pattern, layers, and physical manipulations like scratches, drips, and tears to obscure, thereby creating new faces to interpret. In an interview with Monster Children, Zoots describes his attention and focus on the face of his subject, “It’s really about the eyes for me. When I disrupt someone’s gaze, I find some mysterious, surreal quality. It makes you forget who you’re looking at. I try to create collages from dreams. When I dream I know who the people are, but I usually can’t see their faces. There’s a real energy behind that.”

Mario Zoots will take part in the upcoming travelling exhibition INTERNATIONAL WEIRD COLLAGE SHOW (IWCS) at The Invisible Dog in Brooklyn, New York. The 8th Edition of the IWCS opens Saturday April 19, 2014, from 6 to 10pm, and runs through May 11th, 2014. 

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Exhibition Explores Parallels Between Design And Cloud Data

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A recent exhibition in Minneapolis investigates the inherent desire to organize and structure our world, and the ensuing clutter and confusion when we become increasingly influenced by the sprawling technologies we’ve invented to helps us. Eddie PerroteLeanna Perry and Bill Rebholz conceived Scategories as a display to highlight ordered chaos.  “We’ve enabled our minds to perceive more information, decrease our mental clutter and externalize our memories,” reads the press release, which explains why the exhibition feels a bit overrun, offering too much to process, even when the looking is enjoyable.

Each of the artists has one foot firmly planted in the design world, which is perhaps the ideal middle ground to view the changing landscapes of art and design, and how technology is rapidly altering them. The group explains, “Through organizing the brain we present windows into the cerebral wold of structure, chaos, habitual patterns, and seemingly infinite layers of content. It’s these informalities that create vivacious energy, and eccentricities that feed the visual cacophony of information ever gathering within our minds.”

The exhibition itself is presented with this visual cacophony in mind. Colorful, typography-inspired murals covering several walls, while the remaining white-walls are densely covered with 2 and 3-dimensional works. Recurring motifs, such as simplistic cloud shapes, puzzle pieces, mirrors and stairs connect their works; an unplanned phenomenon, which was not surprising considering their shared influences and interests, claims the group. Perrote, Perry and Rebholz even shared a specific color palette for the show, using the same magenta, teal, and yellow paints, both for visual cohesion and “to highlight the gap between colors that exist in reality and the RGB colorspace of computer screens” says Perrote.

At the heart of the exhibition is a paradox, highlighted by the significant gesture that each painting, drawing and screenprint was made by hand. Even in a time when we can create, share and store an unlimited amount of data, the information must still be processed slowly, through our hands, eyes and minds in order to be appreciated, an appreciation which is key to good design.

Scategories is currently on view at The Abstracted Gallery in Minneapolis, Minnesota. The closing reception will be Friday, April 11th, 2014, from 7 to 10 pm.

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“The Dark Side of the Covers” Imagines The Other Side Of Famous Album Art

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Flickr user Harvezt imagines what the reverse side of iconic album covers would look like in their illustrative series, The Dark Side of the Covers. Taking famous works by Nirvana, David Bowie, The Beatles and more, the artist not only fills in the other half of well-known characters,  but creates entire worlds with a sinister-esque twist.

Harvezt’s additions to these albums make them more well-rounded and conceptually rich. Our new, second viewpoint enhances the story. On Dio’s cover for Dream Evil, we see the original image has a demon making the devil horn with his hands as he peers into a sleeping child’s bedroom. Harvezt’s reverse illustration reveals the the demon being cheered on by a crowd of supporters sporting their own horns.

With all of the thoughtful details that the artist put into these works, they pay homage to these influential covers. Today’s digital downloads don’t always place an emphasis on album artwork, and makes Harvezt’s series a tribute to a time when people purchased physical copies of their music. (Via Metal Injection)

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Jorge Rodríguez-Gerada’s Portraits Are So Massive They Can Be Seen From Google Earth

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Jorge Rodríguez-Gerada is known for his culture-jamming renegade advertising disruptions, and even more so for his large-scale charcoal portraits of local residents on the buildings in their neighborhoods (previously featured here). But his newer works have gotten bigger, so large many of them can be seen from Google Earth.

“Working at very large scales becomes a personal challenge but it also allows me to bring attention to important social issues, the size of the piece is intrinsic to the value of its message,” says the Cuban American artist. “Creativity is always applied in order to define an intervention made only with local materials, with no environmental impact, that works in harmony with the location.”

Works like WISH (above) took several years to complete, and involve a time-consuming process which begins by using a plotted grid system and only recently available Topcon GPS technology to map the area. 30,000 wooden stakes were applied as markers to an open area in Belfast, Northern Ireland’s Titanic Quarter shipyards, resulting in a portrait drawn by volunteers using nearly 8 million pounds of sand, rock and soil. The massive scale of the project is balanced by the delicacy of its subject, an anonymous local girl Rodríguez-Gerada met while planning the project (via blog4uuntitled).

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Camila Valdez’s Sculptures Are Leggy Desserts

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Decadent desserts are paired with sexy legs in Argentinian-based artist Camila Valdez’s series of life and table-sized sculptures.  The faceless beings are placed in public and are posed on benches, seen exiting restaurants, and enjoying a picnic in the park. Despite the fact they can’t convey emotion through eyes or a mouth, Valdez has made their legs expressive. They are straight and together if trying to look pensive, or partially open as if trying to suggest something else.

This series literally objectifies women and compares them to a sugary treat that will rot your treat and should be enjoyed only every-so-often. At the same time, they reference outdated objects from the middle of the 20th century, where legs were attached to things like lamps (as seen in the film A Christmas Story). Valdez pokes fun at this absurd and fantastical objectification of the population. (Via HiFructose)

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