French artist Gilles Cenazandotti constructs life-size animals out of litter he’s combed from beaches, recycling a variety of plastics and other detritus. Titled, “Future Bestiary,” this series of sculptures directly addresses problems related to throw-away culture and the waste that results from conspicuous consumption. When the creatures are inserted into natural landscapes, they almost appear digitally rendered because the contrast between natural and man-made elements is so pronounced. Of his work, Cenazandotti says,
“Impressed by everything that the Sea, in turn, rejects and transforms, on the beaches I harvest the products derived from petroleum and its industry. The choice of animals that are part of the endangered species completes this process. In covering these animals with a new skin harvested from the banks of the Sea, I hope to draw attention to this possible metamorphosis – to create a trompe l’oeil of a modified reality.” (via laughing squid and junk culture)
There is something unsettling in many of the paintings of Alexis Rockman. His work typically depicts the natural world – wildlife of different sorts in locales as varied. The scenes are surreal as strange groupings of animals converge on a single canvas. However, some sort of order appears to be breaking down and a chaos not often found in nature seems to be gaining ground. Rockman’s paintings illustrate a wider ecological anxiety over our troubled world. In a way he uses his paintings as a form of protest. The work becomes a powerful expression of deep concern that is easy to feel.
From Futura Standard to Helvetica Neue, designer Aleksi Hautamaki refits vintage neon letters, previously destined for the bin, with a touch of LED lighting to resuscitate their glow for another 10 years.
Character, his company, sells each piece to the public, intending to cultivate a “second life cycle” capable of creating “new value for everybody involved.”
Likewise, portrayed here in a series of artful photographs, each previously abandoned bit of font now haunts the city, with a fresh sense of freedom, searching for a new artful context, home, or environment outside its previous life in advertising.
Portia Munson’s latest show at P.P.O.W uses photography, installation, and sculpture to create a vibrant and colorful atmosphere that examines nature, including our own.
Entering the gallery, photographic wallpaper of dandelions reach out from under a series of still life prints or memento mori: images of actual flower blossoms, carefully arranged by the artist as a mandala, inside of which, a woodland creature, formerly found along the roadside, nestles.
Of her imaging process, Munson elaborates, “I use the scanner like a large-format camera. I lay flowers directly onto it, allowing pollen and other flower stuff to fall onto the glass and become part of the image. When the high-resolution scans are enlarged, amazing details and natural structures emerge. Every flower mandala is unique to a moment in time, represents what is in bloom on the day I made it.”
When shown alongside Munson’s other piece: Reflecting Pool, a “congested installation” of heaping blue landfill trash, we are forced to confront our natural instincts– to build and discard with quick irreverence.
Anna Garforth is a graphic designer and illustrator working from London. Her inspiration from the “plant life that pushes and grows its way through all the cracks in the concrete,” has led to some amazing works including plant life and moss.