Alejandro Bombín’s paintings are deceptive. At first glance, many of them appear to be old, faded images from vintage publications that were scanned into the computer. Something went awry and now they look glitchy. But, what they actually are is meticulously detailed acrylic works that produce a digital mistake by hand.
By dividing up the image into rows (take a look at the detail above), Bombín is able to draw the the picture and fracture it by shifting the picture right or left from its original center. He uses a pointillist technique and pairs pure colors together, which from far away forms a cohesive image. And, at the same time, these colors and the texture from it are reminiscent of a lo-res, pixelated image.
The distorted images point to our desire to hold onto the past and the failings that we experience with technology. Digitizing something ensures that we’ll have it forever. Photographs and newspaper clippings? Not so much. But what happens when technology fails us too? Bombín’s paintings remind us that both can be fickle and that there are no guarantees.
A memorial to the victims of the worst mass shootings in modern history was recently announced, as the country revealed the selection of a design by Jonas Dahlberg. Almost three years ago on the island of Utøya, Norway, a gunman set off several bombs and killed 77 people. Rather than erecting a building or edifice in remberence, Dahlberg’s submission chose to focus on nature itself, separating the end of the island with a man-made fjord where the shooting took place. Across the channel, the names of the victims will be etched in stone, which will be seen by visitor’s in the viewing area. Separated from them physically, Dahlberg explained, “The concept for the Memorial Sørbråten proposes a wound or a cut within nature itself. It reproduces the physical experience of taking away, reflecting the abrupt and permanent loss of those who died.”
The Swedish designer’s submission was unanimously selected (his project description can be read in full here) Dahlberg explained the presence and loaded feelings upon visiting the future building site, “An emotional observation informs my overall concept. During the initial site visit to Utøya, I noticed how different the feeling was of walking outside in nature, compared to the feeling of walking through the rooms of the main building. The experience of seeing the vacant rooms and the traces of extreme violence brought me — and others around me — to a state of profound sadness. In its current state, the building kept close within it the memory of the terror acts of July 22, 2011. Like an open wound.” (via gizmodo)
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.