At first glance, the artwork of Alexandra Bastien appears to be photographs of a nude woman with a variety of skulls. However, the artist unbelievably renders her hyper-realistic drawings from layer upon layers of color pencil. Bastien’s astonishing ability to create such incredibly detailed drawings allows her to beautifully show the human body in a state of transition. The heavy symbolism that has long been attached to the skull in art history represents death. Bastien illustrates this concept in contrast to the soft, warm body of the nude woman. The women in her work are holding the skulls, embracing whatever darkness they may bring. In one drawing, both skull and human have even merged together in perfect balance. This balance of life and death is shown in a state of transition and transformation, exploring themes of rebirth and the afterlife. Seeing the many different skulls amongst a human in its natural state may be reminiscent to human origins and ancestry.
Bastien’s incredible, artistic skill and talent can be seen in this photorealistic series titled Taming the Beast. She finds inspiration in her natural fascination with the human body and form. The accomplishments of this Canadian artist are just as impressive as her skill. Her work has been included in several publications and magazines as well as been exhibited all over the world.
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)
Artist Nathan Walsh‘s paintings of urban environments seem impressively realistic. The attention to detail in turn demands the viewers attention to small pockets of each canvas. Varying textures, reflections on water and glass, effects of light are all captured so acutely, it’s nearly mesmerizing. Exploring each piece is similar to exploring that little patch of neighborhood as a tourist. However, it is Walsh’s careful attention to perspective that set his work apart. It is easy to understand why he may often be lumped in with a larger group of Photorealist painters. However, close consideration of his work reveals Walsh isn’t set on a meticulously faithful reproduction of a photograph or scene. Rather, he seems to endeavor to depict the idea of a space, the feeling of depth.
In his essay on the artist, Michael Parasko expounds on this and writes concerning Walsh’s use of perspective:
“The way Walsh constructs pictorial space takes two forms. The first is a horizontal extension and the second an illusion of depth. Both are exaggerated so that neither method results in the reproduction of nature; yet in such exaggerations Walsh has sought to create believable space. We are convinced into thinking these are images of the world as it is, but the truth is that space in these paintings is not really like the space we inhabit at all. They seem to prove Quintallian’s old adage, ‘The perfection of art is to conceal art.’…Although there is real quality in the way Walsh extends space in this lateral way, my personal view is that Walsh’s most individual works are concerned with the illusion of deep space within the canvas. In these there is a real sense of an artist balancing the need to maintain the illusion of reality with the desire to push the illusion of very deep space to its limits.”
As the Fondation Cartier points out, ‘a Ron Mueck exhibition is a rare event.” His hyperrealistic sculptures are worked over carefully for countless hours. Thus new work is especially exciting. Mueck’s current exhibit at the Fondation Cartier introduces three new sculptures. Couple Under an Umbrella, featured here, illustrates Mueck’s style well. His amazingly lifelike sculptures are only betrayed as inanimate objects by their surreal size. The giant couple beside their creator makes for a bewildering sense of scale and reality. [via]