American artist Joseph Decamillis breaths second life to old discarded books by inserting miniature illuminated into their covers. Postage stamp-sized artworks are done on copper plates and placed in carved niches. Decamillis’ works turn two-dimensional book covers into exquisite spatial collages.
“As a painter of miniatures on copper, Joe found old books the perfect match to narrate and contain his exquisite illuminated images. <…> Carving niches into old books emphasized the storytelling nature of the work.”
Combining the inscribed meanings of a book with his whimsical paintings, Decamillis constructs new discourses between book cover’s inherent text, oil-painted imagery, carefully selected text additions and the viewer. To create his trademark miniatures, Decamillis uses brushes with no more than three hairs each. After finishing the piece, the book is sealed to never be opened again.
All books featured in the “Miniature Paintings In Altered Books” series are real, mostly found in libraries, bought at thrift store bargains or given by family and friends. In this project, Decamillis was able to unite his passion for books with self-taught skills of oil painting and collage. Artist claims to often research the books before altering to find potential monetary or historical value. (via Messy Nessy Chic)
Visual artist Kalen Hollomon, recently titled the “cut out king of New York”, is blurring the lines between the social conformity and taboo with his mixed media artworks. His collages feature mundane city life moments, high fashion editorials and old advertisements blended with clippings from vintage pornography scenes.
“I am always concerned with what lies beneath the surface – with relativity, perception, sexuality and pop culture. My images are reality manipulation, manipulating other people’s identities. The idea of and ability to alter the value or meaning of an image or object by adding or subtracting elements is really exciting to me – adding or taking away elements from something until it becomes the sexiest it can be at that moment.”
Holomon is christened to be the child of the iPhone generation. Snapped with a smartphone camera, his creative collages started gaining exposure thanks to the social media platforms Instagram and Twitter. However, the same attention has forced the artist to censor some of his works. Hollomon says he “had accounts shut down and posts removed for as little as butt cheeks”.
Beyond the absurdity and wit, Hollomon’s work also represents the new trend of privacy-lacking public photography. His instant iPhone images from New York’s streets and subways rarely deal with any permissions for public use. That unawareness is exactly what turns such works into powerful socio-documentary messages. (via Dazed)
Though he is perhaps most famous for his internet sensation photoseries, Everyday, where he has taken a photo of himself daily since 2000 (and which was then turned into a stop-motion video which went viral), Noah Kalina‘s work actually possesses a very distinctly subtle, and personal feel. In the series Internet/Sex, taken between 2007 and 2009, Kalina pairs empty hotel rooms, illuminated only by computer screens, and composite photography which suggests naked couples having sex. The dynamic of the empty and occupied rooms, when paired together, connect a portrayal of the inherent loneliness and longing of the human condition.
Kalina, who is based in Brooklyn and Lumberland, New York, has not explicitly said what these photos are documenting, it can easily be implied that these intimate moments with open computer screens simulate the connections and separations that both sex and connection through the internet offer. Taking place in various hotel and motel rooms, the series seems to suggest a lonely traveller, using their computer to make a primal, human connection. Surprisingly, the open screens and the desire they represent offers a loneliness more lewd than photographing sex.
Australian artist Ben Frost creates image mashups that combine fast food, pills, and iconic figures of popular culture. He paints these celebrities on things like McDonald’s french fry sleeves and boxes for prescription drugs. We see Superman, Popeye, Mr. T, and even Snoopy the Dog all painted on objects that symbolize excess and gluttony.
Frost finds inspiration for his work from graffiti, collage, photo-realism, and sign writing. It’s not a surprise, as he tags things much like a graffiti artist would. His work is subversive and doesn’t hold back any punches. I’ve included stuff here that’s generally safe for work, but if you check out his website, you’ll see a lot of hyper-sexualized manga-inspired characters. But even with these relatively tame images, you can still sense the scathing critique of the mainstream. Greasy meals, too many pills, and processed foods are rotting our health in a similar fashion that television, media, and politics are rotting our brain.
As natural gas reserves lessen and human population increases, many artists have taken the task of portraying dystopian versions of our world, visually demonstrating the costs of urban sprawl. Viennese-based photographer Hubert Blanz has taken the expansion of the world’s highways to their terrifying logical conclusion, offering a digitally collaged set of images which imagines the road systems stacked upon each other in endless repetition.
Offering visions of a planet covered by concrete and blacktop, there is a swirling, organized chaos found in the photos, one which mirrors the many present day megalopolis of the world. Displaying roads which lead to nowhere, but are expansions built upon assumptions of the future we are heading towards, the Hindelang, Germany-born Blanz explains his quixotic photoseries; “Roadshow is a series of images formed and built up from the digital recordings of pre-existing freeways networks, roads, bridges, and intersections. The images are both documentations of actual built spaces and the imaginary re-creation of potential new cities.” (via foxgrl)
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 Art, the 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.
David Redon makes vintage popular culture look new by adding celebrities. The art director at Parisian agency Quai Des Orfèvres combines famous people like Kanye, Beyonce, and Pharrell with Mid-Century advertisements in a series he calls Ads Libitum. We see them endorsing soap, make up, toothpaste, and drive-in restaurants, all having been Photoshopped to fit in with the look and feel of the past.
Redon explains to Adweek why he crafts these remixes, stating, “I like the shift between vintage and modern pop culture, because these days the border between art and commercial is very small, and artists work their images like brands do.” It’s true. Kanye definitely cultivates a specific persona that is polarizing and it’s part of how he sells himself. Pharrell, on the hand, markets himself as a happy-go-lucky likable guy, which makes him more family-friendly with wider appeal.
Ads Libitum is primarily American marketing and culture through the eyes of a non-American. Redon makes some interesting choices on celebrity and advertising pairings. Nirvana, for instance, seems a little outdated, as does Michael Jackson, but to someone who’s an outsider, these people are an icon of music in the United States. (Via Adweek)
Brian Steinhoff amusingly attempts to turn porn rated-G in his series of collages titled Porn For the Whole Family. He trades human flesh for floral patterns, silhouetting the once-bodies with kitsch designs. Now, we see abstracted shapes on top of beds, in the tub, and against countertops. Steinhoff is more conspicuous about some images than others, and will choose to leave in various sex toys with the masked subjects.
This series raises some interesting observations about censorship. How effective is Steinhoff’s censoring? In some of these images, the mixture of patterns and shapes is confusing and hard to decipher. But other times, the artist’s floral designs do little to shield us from what’s really going on in these photos. He’s keeping us from actually seeing the acts, but we still know what’s taking place and have some idea of what that looks like.
This is reminiscent of bleeping out “bad words” from television shows. Sure, it keeps viewers from hearing these phrases (which they most likely know, anyways), but it doesn’t change the fact that people are cursing and that you can probably guess what they said.
We recently posted the work of Von Brandis, another artist whose project Obscene Interiors reinterprets sexual content. Instead of patterned bodies, silhouettes replace the figures with a vacant, white shape. Where Steinhoff’s handiwork blends in with the photographs, Von Brandis’ erotic activities are in stark contrast to the rest of the image. This makes them differ in application, but also in context. Steinhoff’s use of these kitschy patterns conveys a homey feeling, whereas the other Obscene Interiors removes this association. (Via Flavorwire)