Jeremy Olson, an artist based in Brooklyn, New York, is interested in geometry and simultaneous perspective. Much like the canonical works of Pablo Picasso and Georges Braque, Olson looks at portraits in a different manner; the intricate ways in which he chooses to scramble the geometric pieces that make up the sitter’s face, makes for a fun time. The viewer must intently figure out which pieces go where to make sense of the portrait as a whole.
Aside from his interest in geometry, Olson, also plays with traditional painterly portrait styles by using a hyperreal approach. By including all of these three elements [geometry, traditional and hyperreal portraiture], the artist breaks down the face into a spectrum of beauty that simultaneously makes for a violent yet charming visual. (via Ignant)
Joel Cooper crafts paper masks and geometric shapes using the technique of origami. Cooper’s intricate three dimensional masks are created with a large number of folds out of one sheet of paper. He alternates between bright and muted colors and matte and shiny sheets of paper that all appear earthy in tone. On some of his pieces, his wife has collaborated with him by using painting techniques to enrich color and texture. You can check out more of Cooper’s work on Flickr and purchase available designs via his Etsy shop. He lives in Kansas. (via design taxi)
The geometric paintings of Francesco Lo Castro are made from a time-consuming layering process that combines acrylic, spraypaint, occasional silkscreen and layered epoxy resin to create dynamic explorations of shape and form. This process is so intuitive that the artist says, ”Geometry is just a word; it’s an aesthetic. There’s no math involved in it.”
The Italian-born, South Florida artist begins his work layering angular, taped-off shapes painted with aerosol and coated with a layer of epoxy resin. This layer is then sanded down, as is every successive layer, until the piece is finished. This process can take up to a month of 12-hour days to complete, according to an interview with New Times. Explaining his work, Lo Castro says ”To me, these paintings represent our entire universe. These shapes are atoms. They are galaxies. They are representational of all that combined. They all represent evolving structures that are constantly in flux and ideas that are constantly clashing with each other. And with these clashes, new ideas arise, and we evolve through them. We have billions of people finally waking up and networking with each other; even if we don’t speak the same language, we are getting to know ourselves in the process for the first time. This kind of communication hasn’t happened before.”
Lo Castro expands this point in the interview, explaining that the former lowbrow arts movement star turned to his current geometric style as an evolution – one which mirrors humanities’ own path towards singularity. The artist o notes that his own work has found an international community thanks to technology and internet exposure, and also because of the geometric aesthetic that we can all share. Lo Castro continues, ”I think geometry found me, because all you have are these colors and shapes. No matter what your age, your culture, or language you speak, everyone can jump in.“ (via coolhunter and broward-palm beach new times)
With simple masking tape, photographer Robert Chase Heishman transforms everyday spaces into flat, geometric scenes. This effect creates an illusive new space, redefined by new boundaries. Whether the tapes’ colors are bright or more subdued, the effect is stark. He creates new shapes within the photograph, or uses the tape to create a framed effect for the photograph. If the photographs were stripped of tape, the photographs would be a bit dull. By adding the tape to some of his scenes, Heishman creates the effect of a lost dimension. Because his designs are so thoughtfully shaped, it takes more than a glance at these photographs to recognize that the tape has been placed onto the scene and not the photograph. When he’s not masking his surroundings with tape, Heishman also works with video and sculpture to explore similar themes like peripheral vision, flatness, and digital affect. He lives and works in Chicago. (via from89)
Filmmaker Dave Altizer’s short mini-documentary Porcelainia features Bobby Jaber, an educator, scientist, and artist. After Jaber retired from teaching chemistry, he was able to focus his energies on porcelain work, specifically geometric designs based on molecular shapes. Jaber’s approach to his work is inspired by his scientist/artist predecessors, most notably Buckminster Fuller, inventor of the geodesic dome. Though he’s had a little financial success with some of his work, Jaber is clearly motivated by love and dedication to his craft. Be sure to stick around after the credits to catch Jaber’s priceless reaction to current technology.
A. Ruiz Villar parcels out space in relation to geometric positions, with minimal pops of color threaded throughout. His subtle gradations of white give special depth and age to the work so imagery doesn’t feel flat, but formed, or architecturally emerging. These vibrant compositions are not easy to visually choreograph– however, Villar makes it look beautifully accidental and organic.
Of his work, Villar’s stance seems like a conceptual mash-up of science, math, and poetry, suggesting it “revolves around the quest for a language akin to the following factors: 1.1.1. Provisionality (doubt): Lack of an evident purpose. 1.1.2. Continuity: There are silences, there’s no rest. 1.1.3. Uprootedness: There’s no commitment to technique, structure, or materials.”
Painter David Marc Grant‘s fantastical, somewhat neo-surrealist paintings on panel showcase a sophisticated sense of both color and composition. The layers of each piece seem to prop up the next, leaving plenty of corners and pockets for Grant to explore his interest in small detail and pattern. Although the compositions are mostly abstract collisions of geometric shapes and thick, viscous liquids—the artist positions the work as a mirror for the collapse of contemporary society. Grant’s inclination for abstraction disguises these artistic intentions in an attractive blend of quirkiness and color, leaving the viewer with a candy-coated version of dystopian landcape.
While Jack Sawbridge was studying architecture at the University of Nottingham, he became interested in sacred geometries and the ratios and styles associated with the form. He often finds pre-existing pieces of wood to use as his starting point before constructing their formal geometries. Sawbridge then integrates light, guitar strings, and/or glass sound tubes, giving these seductive forms a function. These beautiful works are fully operational and patrons are even allowed to experiment with them. Sawbridge’s work articulates the meticulous and delicate balance of architecture and sculpture.