When two great artists come together with completely different styles, amazing things can happen. Artists Grady Gordon and Derek Albeck have come together to create a collaborative series in which Gordon starts one of their artworks, and Albeck will finish it. Both artists working in graphite, their work fits together naturally. However, there solo work provides a stark contrast to each other’s styles. Gordon often works in monotype, creating his pigment from ground up cow bones. His organic, abstract techniques could not be more different than his collaborator. Albeck’s work is exceptionally detailed, rendering photorealistic drawings with graphite. When you mix these two opposite methods of creating art together, the results are incredibly unique.
When Gordan and Albeck join forces, their work becomes a hybrid series of morphing, deformed faces that are not of this world. These highly expressive faces are missing many parts such as eyes, a nose, or a mouth at some times. Even the hand that is included in this series appears to have contorting fingers and twisted bones. The winding line work confuses our perception until we cannot tell which end is which, or even, which part is the inside or the outside of the head. You can see this captivating series at the exhibition Sometimes I See You Look At Me Like That at The Smoking Nun Gallery in San Francisco, Califonrnia. You don’t want to miss it, as it ends next month on July 17th.
For his series “Face Cartography,” the photographer Daniel Boschung creates an unnerving portrait of the human face, bringing it into a hyperrealistic focus that exceeds even the powers of the naked eye. Each high resolution likeness is composed of approximately 600 individual shots, each of which boasts the astounding size of 900 million pixels. The artist programs an ABB industrial robot to scan the entirety of his subjects’ faces, forcing them to sit still for up to 30 minutes per session.
Boschung’s photographs are visually jarring in part because they allow us to scrutinize the features of others in ways that are not possible in daily life. We rarely get close enough to view another’s pores and nose hairs; even if we did, our eyes would focus on a single spot, and the rest would fade into our peripheral vision. “Face Cartography” presents its subjects’ flesh with a depth of field beyond that of human vision, and as we move our eyes across the page, we need not fear that they will move, blur or obstruct our view. In this way, the portraits are uncomfortably intimate and unsettlingly vivid.
The artist explains that in his photographs “emotions are completely missing;” because his subjects must hold the same position for a longer period of time, fleeting emotive expressions do not register on the composite image. In this way, the work might be read as a powerful reflection on gestalt visual psychology, which proposes that the sum of the parts of an image do not necessarily reflect the whole. The up-close high-resolution parts that compose the final image are certainly transfixing, but when added together, do they accurately reflect the person photographed? What do you think? (via Design Boom)
The sculptures of artist Johnson Tsang are unbelievably realistic. That is, until you spot faces in the spilling liquid. Primarily working in ceramic and stainless steel, Tsang’s sculpture’s seem to be caught like photographs. Liquids spill from mugs, streams intersect, and crash to the ground. Hidden by Tsang in the flow, however, are faces. Two colliding streams of liquid are actually faces mid-kiss. His work emphasizes a temporality – time as it quickly passes and their memories. [via]
Photographer Antonia Basler‘s series Content Aware makes use of a Photoshop tool of the same name. The content aware tool is used to erase objects from images and replace the space with content the program judges to be appropriate. Basler’s series begins with old family photos. She’s highlighted the faces of the photo’s subjects and applied the tool, then highlighted the inverse and applied the tool for a second image. The resulting images are a cyber sort of surreal, like a creepy reality glitch. [via]
The boombastic Superoboturbo illustrations remind me of how excited I used to be when I saw monkeys on television. I used to be obsessed with those little fuzzy guys, and I’m beginning to swoon for this man’s work the same way. His controlled pallette and friendly line-weight make for a rambunctious duo that make it hard to pull my eyes away.
Also, he recently broke his leg so maybe send him a nice note or a little work to help cheer him up/pay the medical bills at: firstname.lastname@example.org