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)
Antonio Basoli was an Italian artist who lived between the 18th and 19th century, and was a man with a vision. He created this architectural alphabet engravings called Alfabeto Pittorico (Pictorial Alphabet). The images don’t just depict letters, but elaborate buildings that use letterforms as their structure. It includes every letter except for the j, because it doesn’t exist in the Italian alphabet. They called it i lunga and it’s written with an i.
Soft, monochromatic images are full of intricate details, and we’re able to see every brick of a building in addition to the billowing clouds in the background. With each letter, Basoli creates a different setting and mood. Some landscapes are tranquil and idyllic-looking, filled with lush vegetation. Others are war-torn, and we see giant cracks in the foundation of buildings. Whatever the occasion, each is its own story with a compelling narrative of men versus themselves and also versus nature. (Via Sploid)
Graphic design and illustration studio Violaine & Jeremy create stunning graphite pencil drawings of animals and people merging with wildlife and nature. Surreal illustrations feature wild and domestic critters propped with various attributes of human world: spectacles, patterned scarves and even Victorian waistcoats.
Another humorous venture by the creative duo, Violaine Orsoni and Jeremy Schneider, is to attach lush flowery beards onto humans and wild animals. The unexpected combination of a fiercely looking gorilla sporting a Garden of Eden-like facial hair is beyond humorous. The idea seems to resonate with the latest trend of men adorning their beards with colorful blossoming flora.
Each piece of the collection demonstrates incredible attention to detail. Perfect technique of pencil hatching and shading brings Orsoni and Schneider’s intricate drawings very close to photorealism. Their studio collaborates on a variety of projects: from visual identity, to album covers, to design of the France’s leading innovation magazine, Influencia. (via KoiKoiKoi)
Considerably ancient art form of calligraphy is brought to new dimensions by Tolga Girgin, a Turkish electrical engineer by trade and graphic designer by heart. His series of 3D calligraphic artworks witness how a little bit of imagination and skill can breathe life to a slowly disappearing craft.
Looking at Girgin’s graceful letters and strokes it seems like they are going to leap off the page and float into thin air. The eye-catching effect is achieved by combining skillful shading and perspective. Bright colors also do justice for Girgin’s works. His letterforms look more like paper cut-outs than two-dimensional drawings.
Girgin also practices “calligraffiti” which blends the properties of calligraphic style with modern day graffiti: the art of writing meets the art of getting your (pseudo) name up in an urban environment. Calligraffiti borrows inspiration from ancient lettering styles: Japanese ancient brush characters, Arabic pictorial scripts, medieval books and quill writing. The new form of art was originally named and pioneered by Dutch artist Niels Shoe Meulman. (via Colossal)
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.
Playing on the enticement of the black mirror, or, the darker recesses of our own perceived realities, fascinations revolving around the occult has infiltrated and renegotiated the perceivable world as we know it to be. Contemporary examinations of the occult and mysticism has surged in creating a more modern vernacular of symbology rooted in spiritualism, skewing the tangible under the scope of what is sensed and experienced as opposed to what is seen. Confronting the enigma of the unknown, investigations of the preternatural have transformed the material world through its semi-erotic explorations of the unconscious and the supposed spirit world. Evoking a sense of histories long since passed, fascinations with the paranormal are found not only within its connotations with Surrealism and Dada, but has since found itself increasingly commercialized through a dilution into popular culture.
The following artists present an elusive understanding and reflection on mysticism and the occult. Straying from any form of irony, kitsch or inapt nostalgia, their employment of the occult acts instead as a new means of dialogue and spiritual resolve.
Michael Cina has created a world-renowned career by fusing elements of both design and art into a signature style of technically-sound, visually striking, and uniquely glossy works. This approach has brought massive clients ranging from Facebook to Coca-Cola to MTV, as well as fine-art success. His latest efforts involved opening up control of his personal practice, however, as Cina worked side-by-side, though miles away, with a collaborator. For over a year, Cina and New York-based photographer John Klukas worked together to create a new body of work, which they began to call “digitally handmade” – a true synthesis of each creator’s respective styles. This collaboration yielded some twenty works, which are collected in the exhibition, She Who Saw Deep, at Minneapolis’ Public Functionary.
Beginning their complicated collaborative process with photos of the exhibition’s singular muse in Klukas’ New York studio, Cina then took the images and digitally overlaid his handmade paintings in his Minneapolis studio. Working the files back and forth between the two several times, the finished files were often so large and dense that they were as large as 16GB. These pieces were then printed and mounted, where Cina made final edits by hand – embellishing, spraying, drawing, and painting each piece to give them their own unique finish.
The digitally handcrafted images in She Who Saw Deep are then titled around the loose parallel of the Epic of Gilgamesh, “where the hero passes through the absolute darkness of grief, fear and death to be reborn into the light…the resulting works in this exhibit are both a visual and conceptual interpretation of this classic and universal human story.” Public Functionary, which offered support for the printing and creation of the works, is offering unique, limited-edition prints of these collaborative works, which can be purchased here.
James Thurber said, “Humor is emotional chaos remembered in tranquility,” which seems to be a tactic comic artist and illustrator Kate (Ellen) Lacour has mastered in her recent drawing series Bodies, which she has only described with three words, “body horror beauty.” The motives, inspiration, or goals behind the series have not been disclosed, yet appear to be a distinct side-project from her usual cartooning work, replacing a visually lighter style with a combination of human anatomical drawings found in textbooks. The results twist the familiar style of textbook, anatomical human renderings, creating drawings which utilize symmetry, unique and unusual body arrangements, and religious or spiritual iconography.
Symbolic poses are taken by transparent, headless bodies, such as the Lotus position, a pose with Hindu, Jain, and Buddhist relevance. Lacour (who perhaps tellingly also works as an art therapist) enhances this peaceful, evocative aesthetic by drawing lines with ink and pen but softly coloring the drawings in with food coloring. However, even with the emphasis of religious and anatomical text, the drawings evoke a humorous effect, replacing heads with comically screaming mouths and adding eyes to the Fallopian tubes of a levitating uterus. The most successful works are those which pack in detail, such as Devouring Mother (first drawing, above) where a creation myth entirely new is presented by mixing tales and traditions of the past. (via hi-fructose)