Sit Haiiro is an artist from the Netherlands whose monochromatic illustrations are slightly askew. The portraits of young kids and animals have a serious tone to them, and they’re obscured by slight planal shifts, digital elements, and mysterious clouds. There’s little context to Haiiro’s works, with his subjects devoid of background or environment. This gives an eerie and off-putting feeling to the hand-crafted images, and it’s as if they are out of a dream.
Haiiro’s characters are very active and full of energy. Dogs are running at full speed, a crow is in the midst of flight, and a child jumps as high as he can. But, every action is punctuated and falls short. Pixelation and thin lines fracture faces, bodies, and enthusiasm. There’s an obvious visual sparring between the two, and Haiiro describes it as, “where the calm surroundings provide more opportunity for decision making, rather than being driven by the fast moving winds of change.” (Via Inspiration Feed)
Faig Ahmed, a visual artist from Baku, Azerbaijan, reworks the aesthetic of carpets, an “indestructible symbol of the Eastern tradition”, by weaving digital patterns onto the already conventional recurring patterns of the traditional Azerbaijani rug.
“Tradition is the main factor creating the society as a self regulated system. Changes in the non-written rule happen under influence of global modern culture.”
Ahmed’s interest in extending this traditional practice to one that alludes to today’s relevant digital imagery is his way of creating new boundaries. By mixing and matching two different aesthetics, Ahmed creates a rekindling of tradition and progress.
In order to create the illusions of glitchy carpet bits, Ahmed superimposes digital patterns onto traditional weaving compositions, these combinations either create rugs with bold optical illusions and/or generate transformations that leave carpets looking like unconventional sculptures.
“To be honest, things I do are not always right and beautiful. I do things without thinking- it’s my instantaneous expression. Changes in the world are instantaneous as well, and that is what I am channeling-ideas that have been formed for ages are being changed in moments- that is what I hope to do with me work. I just make bold experiments, putting them into the art scene, trusting myself and the viewers of my art.”
Alejandro Bombín’s paintings are deceptive. At first glance, many of them appear to be old, faded images from vintage publications that were scanned into the computer. Something went awry and now they look glitchy. But, what they actually are is meticulously detailed acrylic works that produce a digital mistake by hand.
By dividing up the image into rows (take a look at the detail above), Bombín is able to draw the the picture and fracture it by shifting the picture right or left from its original center. He uses a pointillist technique and pairs pure colors together, which from far away forms a cohesive image. And, at the same time, these colors and the texture from it are reminiscent of a lo-res, pixelated image.
The distorted images point to our desire to hold onto the past and the failings that we experience with technology. Digitizing something ensures that we’ll have it forever. Photographs and newspaper clippings? Not so much. But what happens when technology fails us too? Bombín’s paintings remind us that both can be fickle and that there are no guarantees.
German photographer Robert Schlaug creates Limited Area, a series in which we get to know landscapes, not as the usual sublime, endless terrains, but simply as a place that is contained and eventually terminated. In essence, Limited Areas reflects the “limits of human experiences via everyday landscape photographs.”
“Sometimes we feel we’ve run into a wall or stand in front of a precipice, not knowing how to proceed further. Or suddenly there opens up before us an insurmountable wall, and we know no way out. Even our thoughts and our imagination constantly finds their limits.”
By digitally manipulating the images, Schlaug re-creates something that we are used to seeing in our computer screens- a corrupted file, a glitchy image. Precisely, he drags down streaks of color across each section of his photographs; the result, a visual experience that he hopes will “raise awareness in times of total sensory overload.” His images, turn into colorful abstractions that will perhaps remind the viewer of the grand Abstract Expressionist works from the 1950′s. (via Phaidon)
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.
The work of Mathew Zefeldt(previously featured here) successfully balances improbable combinations – modern with historical, digital with classical, painterly foregrounds with computer-like backgrounds – all by densely rendering them in traditional painting techniques with oils and acrylics. Having created an advanced personal lexicon of art historical references to classical sculpture, as well as to abstract and figurative painting, these figures cohesively exist alongside more modern glitch aesthetics, shifting colors, garish patterns, and computer-like repetition. Through the combination of these disparate elements, Zefeldt recalls the history of the painting medium, while referencing the potential to represent our new, hybrid reality. Explaining his work, the artist says, “My paintings are still-life arrangements that take place in my head; they are windows onto a fictional world, governed by rules based in the real world, but bent and broken…”.
These still-lifes exist in another improbably capacity, that of using both illusionistic depth and perspective, but on two-dimensional plane. This use of the flat-plane is more often found in collage, as is Zefeldt’s tendency to repeat (almost) identical imagery. When asked by Beautiful/Decay why he chooses painting to construct his explorations of a variegated contemporary visual culture, Zefeldt replies, “It would be a million times easier to collage or photoshop rather than paint. But paint forces you to slow down. Painting the same thing over and over again is almost meditative. Painting can be subversive too. Everything is getting more digital, movies etc. I think its important to keep making things manually, by hand.” This attention to craft highlights a uniquely human quality, where each sculptural bust appears exactly the same, but holds its own standard of flawed beauty upon closer inspection.
The Minneapolis-based painter will be featured in the group exhibition Figure Ground(curated by Gideon Chase - previously featured here) at Eleanor Harwood Gallery in San Francisco, CA. The exhibition (which opens January 10th and runs through February 8th, 2014) features work which explores the relationship between the figure and the foreground, testing different styles of background, illusionistic dimensions and a flat plane’s ability to contain both subject and context in a search for meaning.
Los Angeles-based painter Justin Bower makes portraiture a glitched metaphor, literally and figuratively, to the present and future of a combined human and computer existence. Bower “…paints his subjects as de-stabilized, fractured post-humans in a nexus of interlocking spatial systems. His paintings problematize how we define ourselves in this digital and virtual age while suggesting the impossibility of grasping such a slippery notion.”
Absorbing different movements and styles (visually one could see a connection to the paintings of Francis Bacon, Jenny Saville, Op Art, as well as early 90′s Cyberpunk and post-Millenium Glitch aesthetics), Bower creates large-scale works that seem almost pained, frustrated or weariness, but with a computer-like void of any tangible, specific emotion. This is balanced delicately by the controlled, digital-referencing malfunctioned backgrounds, combined with loose, painterly brush work, affirming the power and communicability of the paint medium.
David Szauder, a German digital artist, takes interest in the glitch phenomenon. Failed Memory, the name of the compilation of images, showcases photographs that are purposely altered. Precisely, the photograph’s flow is interrupted by the sudden ambiguity of lines and distortions occurring in certain parts of the subject’s body.
His ‘glitch’ technique literally translates to the themes he is working with here: memory and the possible failure to reconstruct them. Much like the files on our computer’s memory, human recollection of events might get distorted throughout time.
“Our brains store away images to retrieve them later, like files stored away on a hard drive. But when we go back and try to re-access those memories, we may find them to be corrupted in some way.”
His work is more than just visual; Szauder provides text to go along with the images. On his Behance profile, the artist expresses that the images recollect failed memories related to family moments. (via IGNANT)