Canadian artist Erin Loree crafts luscious abstract paintings that have an incredible sense of light. The vibrant pictures feature incredible blues, magentas, yellows, and many more spread over a canvas. Loree varies her approach to texture, with some areas of smoothly-applied paint and others with short, thick brush strokes. They work together and form alluring artworks that resemble portraits and at times, landscapes.
Considering the scale of Loree’s strokes, the subjects that she’s painted seem to be captured at a close range. Large, sweeping lines form vague outlines of heads and shoulders, and with names like Energy body, it’s hard not to associate them with that. But, instead of giving us the an idea of what this physical body looks like, Loree uses gesture and intense hues to communicate an inner spirit or feeling. Some of her works appear as if they’re glowing from within - the essence of an intrinsic light that exists inside living beings.
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)
Premier website builder Made With Color and Beautiful/Decay have teamed up again to bring you exclusive artist features. We show you exciting artists and designers who use Made With Color to create a clean and modern website. But it doesn’t just help artists create a minimal, mobile-responsive website; Made With Color also allows them to do it in only a few minutes without have to know any coding. Today, we’re sharing paintings by Brian Cooper.
In his series Empty Space Is Not Nothing, Cooper depicts soft-looking forms on a pitch-black background. They are strange, abstract shapes that have an air of originality about them, but seem familiar at the same time; the surface treatment resembles gridded paper that you’d find in a notebook, and the figures themselves droop like a mat or mattress that stood upright. We see excess and folds, which gives these paintings a visceral feel, and the viewer has an overwhelming desire to reach into the work and touch the imagined-malleable surface.
Cooper is both an artist and a musician – he performs under the name Earth Like Planets – who recently released a self-titled EP and has a show coming up at Ham and Eggs Tavern. If you’re in Los Angeles, it starts at 8PM on Saturday, November 8.
Painter Joseba Eskubi’s lusciously-crafted landscape paintings have both an incredible energy and a certain mystique to them. The gestural brush strokes signify movement like the wind or temperamental weather, and they exist in these desolate locations with brilliantly-colored dark sky; it’s like the bluish-purple that marks the middle of the night.
All of Eskubi’s paintings feels like they exist in the same world, but each sets the stage different for its own strange happenings. A lot of these structures are reminiscent of weeping trees or their twisted branches. These lines create an interesting visual tension that doesn’t necessarily feel threatening at the moment, but it was at one time (or maybe in the future?). It’s an uncertain, post-apocalyptic shelter. But unlike the stereotypical gray landscape, Eskubi has created a place of visual splendor.
Artist Henrik Aarrestad Uldalen combines something that we’ve seen many, many times throughout the history of art – figure painting. But, he does it with a contemporary approach. His moody paintings feature partially obscured people as they rest beneath the water. They are just below the surface of the dark, deep pool, and the light from their bodies is all that’s visible.
According to Uldalen’s artist statement, his work, “…explores the dark sides of life, nihilism, existentialism, longing and loneliness, juxtaposed with fragile beauty. The atmosphere in his subject matter is often presented in a dream or limbo-like state, with elements of surrealism.” Although these figures are rendered realistically, they rest in a void with little additional visual information. We can’t be sure of where they are or what brought them there. And, for some, if they are dead or alive. It’s this open-ended narrative that gives drama to Uldalen’s paintings, and the hauntingly gorgeous images are the kind that will stay with you – even if you don’t want them to. (Via I Need a Guide)
Artist Lia Melia grew up a few minutes walk away from the sea, and today it is still her main source of inspiration. And, you can definitely tell – her colorful, swirling paintings are reminiscent of the large body of water. Mythology has also been a life-long love of hers, and she depicts elemental forces that are represented by the gods.
Melia uses a variety of methods to create these highly-textured works, and she’s developed her practice over the course of many years. Powered pigments and solvents are baked into aluminium, or occasionally, onto glass. She uses fluid mixes which require high levels of control, so they are often thickened to make the medium easier to use. Different elements are layered to give them a rich, visual depth.
Looking closely at these paintings, we see that her skill in creating textures give the illusion of crashing waves, stormy skies, and ocean foam. Melia’s tightly-cropped compositions freeze a split second in time, and anyone who has stood in the water can imagine what happens beyond this scene. (Via Saatchi Art Tumblr)
Pop culture and classic, fine art mashups aren’t anything new, but they nevertheless provided an interesting juxtaposition between the visual culture of then and now. Philippines-based multimedia producer Eisen Bernardo has created a series that places the covers of contemporary magazines like Vogue, Rolling Stone, and Vanity Fair. It’s appropriately titled Mag+Art.
Bernardo told Buzzfeed that he began the project because he felt that magazine covers were inspired by classical paintings. This is his way of comparing the aesthetics of the long ago as well as the present. What kind of clothing, hairstyles, poses, etc. are popular now? How has beauty changed or stayed the same. He poses the question, “Do we still see a naked woman as an object of art/beauty? Can the celebrities and models on magazine cover be considered as muses of the contemporary masters?” And, he hopes that these covers can be considered classic art. (Via The Huffington Post and Buzzfeed)
Exquisite Corpse refers to the collaborative game whose origins are rooted among the Dadist writers as a poetic exercise and the Surrealist later turned into a drawing game. You might’ve played it before; when each person does their part well, it creates an alluring, sometimes grotesque body that was completely unexpected.
This exhibition brings together artists working in both Los Angeles and NYC. As MASS Gallery poetically describes:
A central problem of 21st century life is that the old, psychologically fortifying myths are fading. Philosophers and scientists have described us as wet robots and biological algorithms, which is perhaps an intentionally shocking way to describe humanity, but these descriptions also seems to get close to a dangerous truth that contains a kernel of abject horror. It is the artist’s job to create psychologically coherent images which look forward. It is now a matter of viewpoint whether, when it is all said and done, you are a dead body or an Exquisite Corpse.
In addition to the show, the gallery also produced a full-color catalog that showcases all of the work and an essay by Bill Donovan. The limited-edition, 102 page publication features a beautiful spot UV with fluorescent cover. If you can’t make it to Austin for the show (it’s up until October 25), then the inexpensive-yet-high-quality catalog is totally worth it.
More work by the featured artists as well as sample spreads from the publication after the jump.