Italian architect and illustrator Federico Babina has created 27 fantasy buildings that meld famous artists and the places where they might live. The series “Archist City” is a clever melding of cross-sectional drawings of buildings and the signature styles of artists including Andy Warhol, Damien Hirst, Pablo Picasso, Keith Haring, Joan Miró, Josef Albers, and Piet Mondrian. The result is a cohesive group of easily identifiable buildings—in fact, pairing the artist with the correct drawing is part of the fun.
“Art, architecture and sculpture are historically linked by an unbreakable thread, we find examples of paintings and sculptures having a direct influence on architectural design. … Painting sculpture and architecture have always been complementary disciplines that influence each other and feed to grow and develop along common paths.”
Babina’s skilled artwork makes this look easy, but in actuality first fitting the artists’ iconic styles into an architectural framework, then keeping all of the buildings consistent in execution is the mark of a very skilled artist. Some of the artists play well together: Mondrian and Albers and Rothko for example. Others would seem to defy architecture, like Dali, Haring, and Miro, yet Babina has brought them into his imaginary cityscape. The identical background texture and color, font, and scale relative to the paper help tie the pieces together.
The silhouetted figures help sell these as buildings instead of artworks and the cross-cuts reveal wonderful details: Andy Warhol’s building includes soup cans and his Marilyn Monroe paintings; the huge shark in Damien’s Hirst’s building references his 1991 work “The Physical Impossibility of Death in the Mind of Someone Living.”
“These images represent an imaginary and imagined world of shapes that uses the brush to paint architecture.”
What fun it would be to inhabit this world of huge imaginations, awesome ability, and lasting artistic legacy.
The painter Kira Ayn Varszegi substitutes her own 38DD breasts for traditional brushes, covering them in paint and pressing them to her canvas. For Varszegi, fun is an essential element in art making; she hopes to inspire amusement and smiles. Though her work has of course been criticized and cast aside as “frivolous,” the artist has made a name for herself, boasting at least one painting purchased in each American state.
Before we give in the the impulse to judge, let us take a minute to appreciate the product of Varszegi’s efforts. Her paintings quite resemble the work of abstract expressionists like Jackson Pollack or Mark Rothko; she, like them, hopes to inspire more primal and visceral emotions with her marbled surface of color, texture, and form.
But unlike most (but not all) of the 1950s trailblazers, Varszegi is a woman, and that fact is essential to her art making process. Where many modern art movements have been dominated by an idealized machismo, the boob artist embraces what some might call the feminine or the sentimental. Here, the breasts, symbols both of female sexuality and fertility, are the means of creation, as opposed to the paintbrush, an instrument whose form is vaguely evocative of the phallus.
The artist’s compositions mirror the “feminine” tenor of her process, their soft, glittery tones forming elusive and symbolic butterfly and floral shapes. Paint drippings and splotches swirl together in an evocative, orgiastic blur. Take a look, and let us know what you think of the project. It is groundbreaking or silly? (via Oddity Central)
Eddy De Azevedo used discarded lighters he had found and assembled them to into reimagined Mark Rothko works. Using Rothko’s color field paintings as a guide, De Azevedo created a photographic series using hundreds of lighters. He carefully collected and arranged the objects, which vary in color, size, and luminosity. When grouped together, his photographs are pleasing to look at as a whole or for their individual details.
The lighters work well as an interpretation of Rothko’s paintings. The original color fields are not flat colors, but vary in intensity, hue, and brush stroke. Much like these paintings, De Azevedo breaks up large areas of colors by staggering lighters and placing opaque and translucent ones next to each other.
De Azevedo is interested in the impact of a simple image. It’s why he is inspired by painters who work with large color fields. To him, these pieces have cross-cultural appeal. We all have a relationship to color, albeit all a different one. De Azevedo further enhances these paintings by adding objects. The lighters, paired with color, can be rich with meaning. In this way, he is creating an image that is more complex just beyond recreating Rothko’s works.
These images are just one part in De Azevedo’s series titled Walking My Dog. As the artist would go on long walks with his pet, he noticed all of the debris present along the ocean shore. He began collecting all of the scraps, which included more than 600 lighters, 1000 bottle caps, 200 fisherman gloves, and 2000 plastic bottles. De Azevedo has recycled this discard into appealing and colorful works of art. But, the staggering amount of material he has to work with is a good reminder of how much waste we actually produce, and our responsibility to take better care of the environment. (Via Feature Shoot)