Don’t we all love to hate those kitschy landscape paintings at the local thrift store? I know I do. But what if we can make them became exciting again?
Artists Chris McMahon and Thryza Segal give thrift shop paintings new life by embedding monster-like creatures. The finished product resembles a pop-surrealist version of Nickelodeon’s Aaahh! Real Monsters.
Both artist carefully blend the monsters into the original scene as if they were always there. The process can be tricky, since it can be a challenge to match the original textures and colors, but it can be said that their attempts have been a success. They are pretty awesome.
With his collection of delightful three-dimensional GIFs, the illustrator Dain Fagerholm creates whimsical universes that are both wondrous and terrifying. Filled with monsters reminiscent of Maurice Sendak’s “wild things,” the precious animations exist in a space caught between childhood nightmares and dreams. The artist draws each by hand, and the illusion of three-dimensionally of the work is expressed by a fast-paced alternating between a few images drawn from similar but differing perspectives.
Fagerholm’s lovely work is infused with a playful sense of anxiety; his characters, both human and otherwise, curl on the ground of tightly enclosed spaces like affrighted children. Wide-eyed and appearing to move manically back and forth, they hold their knees close to their chest. In these strange, surreal narratives, we are invited to feel the claustrophobia of a time out, recalling the lonesomeness and isolation of being bound to our rooms. One girl seems to be trapped within a TV screen, seemingly sucked into a blue, static-filled haze by her own imagination, peering curiously and excitedly outward.
These sweet, solitary creatures play and daydream in a dark state of nighttime unease. A seven-headed dragon evokes images of the beast from the biblical text Revelations, recalling (in an unexpectedly adorable way) frightful notions of eternity and punishment. As if pulled from films like The Shining or Poltergeist, Fagerholm’s characters transcend the real world, reaching instead for a chaotic, nervous aesthetic. With eyes dazed like hypnotic spirals, these little monsters seem to wait impatiently for sunrise and open air, for someone to keep them company. (via Demilked)
Erika Sanada’s imaginary creatures toe the line between the grotesque and the adorable; inspired by her childhood trauma and memories of bullying, the artist delves into her deepest anxieties, plucking out tiny hairless ceramic beasts, each of whom appears strangely misshapen by a nervous sort of womb. As a girl, Sanada imagined transforming her tormenters into hideous monsters, presented here as birds and rats with twin heads or dogs that display infinite rows of glinting teeth.
As if stolen from a perverse Eden, Sanada’s endearing beasts are as innocent as they are frightful. “Newborns” introduces a trinity of puppy-rat hybrids, who, despite their sharp claws and thick, bald tails, elicit our sympathies; their soft, tender eyes have yet to open, and the tiniest of baby tongues pokes out of a toothless mouth. Similarly, a hairless beast crawls across a platform, leaving a trail of sticky epoxy that resembles amniotic fluid. He has two tails, each fleshy and naked, and yet he is so poignantly small and delicate that we yearn to comfort and protect him as he makes a perilous journey into the adult world.
As if possessed, Sanada’s cast of characters, whom she charmingly refers to as “Odd Things,” reveal black marble-white eyes, absent of pupils or irises, the effect of which is wonderfully unsettling. As we confront these magical manifestations of our most secret fears, they stare back invisibly, tracking us not with sight but with an intractable knowledge of our own vulnerabilities. Take a look. (via KoiKoiKoi) Read More >
The subjects of the painter Ryohei Hase’s work are, in his view, sadness and gloom; with his mythical paintings, he builds his own bestiary of wolf-man hybrids and skull-faced monsters, weaving tragic narratives in shimmering grays and black-blues. Like religious triptychs, his paneled images seem to narrate a darkly imaginative story of innocence, violence, love, and redemption.
Hase’s use of baby animals is anything but cute; tiny, effeminate rabbit heads are used to convey a sorrowful isolation that centers around the assumed innocence of the young. In contrast to the animal-headed figures who tear at each other’s throats, a young, downy rabbit head sits atop the body of a young woman as she delicately peers at the ground, her breasts barely poking out of a white brassiere; again, we see her as she lays in her lonesomeness, naked on the ground.
As the narrative progresses, these human beasts fall from innocence into experience, now wolf-headed and like hysterical ancient Greek maenads, women lock bodies with one another in battle, breasts jangling and nipples erect. An antlered man claws at the bloodied head of a wolf; a clan of pig-headed humans gaze at a roasted pig, their cannibalism and cruelty seen in their glistening sweaty brows, their gleaming red eyes. As these animalistic men fall into anarchy, they descend into an evermore hellish landscape.
Through the epic series are notes of love and redemption within a fallen world; a gentle wolf head welcomes a collapsed women into his realm, lovingly bracing her fully-human body. Men die, their skulls ripped from the back of their heads, and yet they keep running, peacefully and determinedly looking into the future. In fallenness, there’s color and seduction; a rainbow-encased lioness wears only a pair of barely-there panties, and a dead fish man drifts to the bottom of the ocean, leaving a magnetic fiery glow in his wake. (via Juxtapoz) Read More >
The artist Alicia Martin Lopez gives form to her emotional demons through her darkly seen paintings; imagining the shapes and tones of oft-repressed memories and desires, her work dares to plunge into the depths of human fear. With their infinitely cavernous black eyes, Lopez’s disquietingly amorphous characters invite viewers into the nightmarish dreamscape of our own psychological narratives.
Lopez’s frightful beings inhabit a space outside the confines of time; day and night blur together as light pours in and leaks out of the scene without cause. The monsters are wildly unbound, floating in midair, drifting on water, or holding desperately to rock formations, toes clinched with uncertainty. Like thoughts that flood the darkest corners of the human psyche, the beasts may appear at any time in any place, haunting the mind’s eye without warning.
As soon as they rear their heads, however, the creatures are woefully repressed; one octopus-like animal sits confined in a cell, his crooked neck craning to accommodate a sickly grey face. Like our own private demons, Lopez’s creatures are starved of attention and psychic nourishment, kept bottled in the murky depths of subconscious memory. They each stare downward as if collapsed by the space above them, their bodies bracing against the weight of repression. A flying squid’s wings appear as if crushed by exhaustion; sea creatures’ bearded faces droop into impossibly still water, their sorrowful expressions reflected back at them.
These animals are a tangible reminder of memories and sufferings that refuse to stay buried; collapsing in upon themselves, they beg for our recognition. In granting form to formless worries, the artist suggests that our psychological demons are perhaps less fearful than they are beautifully, mournfully sympathetic. Take a look. (via Hi Fructose and Juxtapoz) Read More >
The 9 Worthies is a series of sculptures produced by art project Salão Coboi. Each sculpture highlights pieces from the autumn/winter 2012 fashion collections…as worn by polymer resin monsters. The creatures model clothing from brands and designers such as Maison Martin Margiela, Jil Sander, Raf Simons, ACNE and Paul Smith. Sculpted, hand painted and signed by Salão Coboi, each piece is part of an edition of twenty.
Salão Coboi (Portuguese for Cowboy Salon) is the personal project of artist Apolinário Pereira. Originally, the project began as a “collective that was born in 2009 two days after Michael Jackson’s death in the European Wild West (Portugal)”. Pereira now operates Salão Coboi as a solo project.
As part of a summer workshop at Duke University’s Center For Documentary Studies, Frith Gowan and Ayanna Seals created a short film about printmaker Bill Fick. The video cuts back and forth between an interview with Fick and footage of the artist’s lino cut process. It’s always great to get a glimpse into a talented artist’s process, but the interview is really insightful as well. Fick, who features monsters and skulls pretty heavily within his work, speaks about what his subject matter might indicate about his personality, his interests, and his response to the world. He never takes himself too seriously though, which is nice to see. Watch the video after the jump. (via) Read More >
A little while back, Flickr user Rafa Toro uploaded this great set of images from a series of collectible horror stickers produced in the 80s called Monstruos Diabolicos. I find myself returning to it again and again to bask in its sticky, vintage awesomeness. Find some of my favorites after the jump, and check out Toro’s own rendtions in his “Redux” set of digital illustrations. Read More >