You may remember when we first featured French artist Miguel Chevalier’s work back in September for his Paris construction tunnel light installation and musical collaboration with Michel Redolfi. Revisiting traditions of Islamic art, namely mosaics and carpets, Chevalier and Redolfi have joined forces again to create a similarly interactive digital/sound project earlier this month at the Sacré Coeur church in Casablanca, Morocco. From April 3-6, “Magic Carpets” transformed the church’s floor into an interactive user interface featuring graphics evolving along with the movements of visitors. The digital light display features generative graphics that multiply, divide, grow, and transform, reminiscent of cellular and organic systems. Visitors’ shadows become a part of the light and graphics display, allowing users to become a part of the installation. The effect of combining organic and digital technologies renders the installation almost psychedelic, enhanced by the accompanying ambient music by Redolfi. To view the installation in action, be sure to check out Claude Mossessian’s video. (via design boom and inhale mag)
The artist Alicia Martin Lopez gives form to her emotional demons through her darkly seen paintings; imagining the shapes and tones of oft-repressed memories and desires, her work dares to plunge into the depths of human fear. With their infinitely cavernous black eyes, Lopez’s disquietingly amorphous characters invite viewers into the nightmarish dreamscape of our own psychological narratives.
Lopez’s frightful beings inhabit a space outside the confines of time; day and night blur together as light pours in and leaks out of the scene without cause. The monsters are wildly unbound, floating in midair, drifting on water, or holding desperately to rock formations, toes clinched with uncertainty. Like thoughts that flood the darkest corners of the human psyche, the beasts may appear at any time in any place, haunting the mind’s eye without warning.
As soon as they rear their heads, however, the creatures are woefully repressed; one octopus-like animal sits confined in a cell, his crooked neck craning to accommodate a sickly grey face. Like our own private demons, Lopez’s creatures are starved of attention and psychic nourishment, kept bottled in the murky depths of subconscious memory. They each stare downward as if collapsed by the space above them, their bodies bracing against the weight of repression. A flying squid’s wings appear as if crushed by exhaustion; sea creatures’ bearded faces droop into impossibly still water, their sorrowful expressions reflected back at them.
These animals are a tangible reminder of memories and sufferings that refuse to stay buried; collapsing in upon themselves, they beg for our recognition. In granting form to formless worries, the artist suggests that our psychological demons are perhaps less fearful than they are beautifully, mournfully sympathetic. Take a look. (via Hi Fructose and Juxtapoz)
David Datuna, a Georgian-born American artist, established his signature technique of laying a cascading veil of varying optical lenses over an intricate, multi-dimensional, interactive narrative. In December 2013 David Datuna became the first artist in the world to utilize Google Glass in a contemporary work of art with the piece ‘Portrait of America’- a part of his Viewpoint of Billions series.
The piece resembles an American Flag; the 12-foot ‘Portrait of America’, is made up of about 2,000 eyeglass lenses as well as 400 portraits of relevant Americans that either magnify or shrink underneath the glass.
The monumental flag, the first of 10 works in the “Viewpoint of Billions” series, is covered in Datuna’s signature style with hundreds of eyeglass lenses. Creating an experiential dialogue through a sculptural veil of optics, the artist uses different magnifications to draw the viewer to the thematic collage inside his work. The prismatic effects invite inspection, while offering a vehicle for observation, and expanding the definition of modern portraiture.
These embedded images include historical and contemporary American figures: George Washington, John F. Kennedy and Martin Luther King, Jr. as well as Lady Gaga, Steve Jobs and Michael Jackson.
You must be wondering when and how the google glass factor comes into play here. It turns out that the premise of the piece comes alive when it is viewed with a pair of GG. It is then that the work turns into, what the artist calls, a living organism.
By working with Bricksimple, Datuna was able to construct a work that simultaneously worked as a standard tangible piece of art, to something that becomes alive digitally, through audio and visual clips presented on ‘our’ Google Glasses. By simply looking or speaking about the work, your voice and movement will trigger a series of short video clips and questions (to be answered by you) that further examine ideas of power and democracy and its relationship to the history and current state of the U.S. Ten cameras, embedded in the artwork, together with the built-in camera in the Google Glasses work to record your answers and to take your portrait. These clips of information, taken from you, will be archived as a part of the digital collage emebedded in the work. Your interaction with the artwork will also be sent out to the world via social media.
The work becomes, in a sense, a living and ever-changing archive that simultaneously works as a piece of art and a malleable and interactive biographical ‘text’ that takes shape into relevant historical (in both art history and world history) progress.
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.
This picture of Morgan Freeman is not a photograph. It’s actually a hyperrealistic digital painting by Kyle Lambert. Using an iPad, the app Procreate, and over 285,000 brush strokes, the artist recreated a picture of the actor (the original photograph is by Scott Gries). The result makes you do a double and then triple take. Lambert’s painting is nearly identical to its source. The entire thing took over 200 hours, and he created a four minute time-lapse video that details the process.
Touted as “The World’s Most Realistic Finger Painting,” Lambert approaches the construction of his piece in a traditional way. He prepares a solid ground to paint on and works in layers, building up volume and texture. He refines details with each stroke. Just when you think the portrait is nearly done, Lambert continues to add highlights and details to the tiny hairs in Freeman’s beard. Here, the his fingerprint works to his advantage, as he uses light pressure to make subtle, light strokes.
There’s no denying that technology has changed painting. With apps like Procreate and the ease of holding an iPad, it’s possible to create something like Lambert did with enough practice and skill. You don’t necessarily have to know hold a paintbrush, or have knowledge of traditional methods of painting. You just need to know how to use the program. Working digitally gives an artist the chance to zoom into their piece, adding fine details that wouldn’t be possible otherwise. It’s also very forgiving. Instead of having to cover up part of a painting with more paint, they can simply undo their last moves. Whereas a covering up an oil painting will show some evidence of what’s beneath, in a digital work, no one is the wiser. (Via Twisted Sifter)
The work of German graphic designer and photographer Stephan Tillmans combines a fusion of new and old technology. Outdated cathode-ray televisions are turned off to reveal a strange but familiar geometry, which are then captured with modern, high-resolution cameras and techniques. This kind of CRT technology is no longer used, and the images the Tillmans collects are equally rare, as each is a finite moment that can almost certainly never be repeated. According to Tillmans, his work is a “photographic series of old tube televisions taken at the very moment they are switched off. The TV picture breaks down and is abstracted to its essential element: light. Each of these photographs is from a different TV, but it’s also the length of exposure, timing, and time the TV has been running before the photo is taken that affects the results.”
Tillman’s recent portfolio is broken up into two categories – the Luminant Point Arrays, (seen above) made from color television sets, and the darker, more stark shapes of the Luminant Screen Shapings which are taken from black and white televisions (seen below). The more recent Screen Shapings lack color and some variation, but also have a more delicate, line-based visual strength. (via booooooom)
Lorna Barnshaw likes to experiment with digital renderings of human faces. In her series of 3D art prints Replicants, Barnshaw used a different computer, software, application, and printing method with minimal interference with each computer’s rendering. The results are geometric, cubed, and warped mask-like representations of the human face. Complementary to this work, Barnshaw’s gif series Reality Reduction, depicts human figure images reduced to their basic geometry using a digital filter. Together these series engage us with their reflections on technological influences in contemporary culture.
The images of Andrea Delo Toro Sicsik seem to relish their weirdness. Her work is a series of photographs that don’t hide that they’ve been digitally manipulated. Rather they revel in their clearly altered states like a digital hallucination. Faces both playful and sinister materialize behind a pastel fog. The photographs are arranged much like traditional portraits. Indeed, there is nearly a religious atmosphere in each image’s composition.