Luxury car brand, Lexus, has figured out a way to transform driving into art. Literally. In a new project titled Art Is Motion, the company combines art, software, and driving as a way to produce a painting as you commute to work. Lexus gave long-time art collector Walter Vanhaerent a new Lexus IS 300h hybrid vehicle that creates auto-generative portraits of the driver. As Vanhaerent drives, the car paints. Art Is Motion is part marketing and part art experiment.
The software used for Art Is Motion measures Vanhaerent’s speed, acceleration, and hybridity. It takes this data and converts it into brush strokes, which are modeled from the style of Spanish multi-media artist Sergio Abilac. The artist is really enthusiastic about this new technology. In a video interview, Abilac refers to the software as cloning his creative process. It’s not meant to be derogatory, and he seems genuinely excited at the prospect of this new technological assistant generating his work. It allows him to make things he would never had time to make otherwise.
The way the software renders a portrait is all based on how Vanhaerent drives. If he feels like speeding (using the gas engine), then the portrait is going have a lot of warm colors with abstract brush strokes. If Vanhaerent decides to relax and enjoy the scenery (using the hybrid engine), then that too will be reflected. His portrait will have smaller, detailed strokes with blues and cool greens.
The car features a large LCD display that dynamically paints Vanhaerent’s face as he drives. On the Art Is Motion website (www.artismotion.com), Lexus has recorded a few trips. In 2 minute long video segments, the portrait is recreated, showing us the speed the car was traveling, and more. By watching it, you really start to understand how much the style of driving affects the outcome of the portrait. (Via Gizmodo.)
Korean artist Rim Lee creates The Mess of Emotion, a haunting series of oil paintings that combine performance, photography and oils. The multi-faceted paintings work well within the themes the artist plays with, as they literally show the woman’s tortured yet delicate essence driven by emotional distress quite beautifully.
Lee plays model for her photographs; these [photographs] are then referenced in her paintings. The act of transferring the realistic image onto a canvas [a surface which usually allows for unworldly expression] indicates an unyielding desire to break free from the idea that judging character solely based on interpretations of physical characteristics and movements is in part, wrong.
Aptly so, the paint acts as a conduit for emotion and expression; the paint washes over Lee’s hyper-realistic physical portrayal, creating a dialogue between the two polarities.
The heavy-expressionistic brushstrokes fill the canvas with texture; they rise above anything else, as to indicate relevance on behalf of the otherwise invisible mental anguish she is going through. [via My Modern Met]
Dimitri Kozyrev’s paintings are captivating, to say the least. His color precision from plane to line and surface to sky balances the ephemerally abstract beautifully with a hardened environment. This compositional fracturing feels like ice cracking on the pond, disrupting the reflection or illusion of us and our structures, before we crash into a new reality.
This “crash” echoes of Constructivism or Futurism, with deep contemporary critique on not just the disruption of landscape during wartime, but maybe even more so, the distortion of self, identity, and technology in relation to art and activism as these terms relate to the avant-garde, painting, and intention in today’s milieu.
On this note, Kozyrev elaborates:
“I have titled this body of work ‘Lost Edge.’ I use the word ‘edge’ because I draw a comparison between the notion of the avant-garde in war and the art world. In the early 20th Century, the avant-garde was at the height of its importance in both realms. Now, however, I maintain that just as the concept of the military avant-garde has been “lost,” because of changes in methods of warfare, the avant-garde in the contemporary art world, has also lost its edge.
“The source material for this body of work is images of ruins of the once mighty fortifications of the Mannerhiem Line, built to protect Finland from the advances of the Soviet military avant-garde. Finland’s attempt was valiant and not in vain; this war and the lives that were lost in 1939 are largely forgotten. The fortification lie in ruins, and nature is slowly reclaiming them. Similarly, the ‘cutting edge’ of the contemporary art world seems to have become blunted. Viewers of the avant-garde work of many visionary artists of the early 20th Century were shocked, challenged and inspired by The Malevich’s ‘Black Square’ and ‘Fountain’ of Marcel Duchamp. Because of changes in society, like changes in warfare, it has become difficult for today’s contemporary artist to generate the same level of response without resorting to vulgarity.”
This weekend on Beautiful Decay we want to welcome you over to the dark side, where a vast amount of artists are churning out contemporary art fueled by the fire of Metal. A multitude of artists these days are making art inspired by the crushing sounds and dark spirit of Heavy Metal, Death Metal and Doom music, all of which weave in and out of several other genres.
I’ve been a huge fan for a while now of the work made by artists Skinner, Ben Venom and Martin Durazo, which are strongly informed by Heavy Metal. This past week after chatting with artist and Beautiful Decay owner, Amir H. Fallah and artist Skinner and reaching out on Facebook to learn more about artists tied into this music scene, I was turned onto a breadth of incredible artists. A lot of artists working with metal as inspiration have strong crossover into design and illustration, album art, posters (especially for the band Mastadon), band merch and murals. There’s also a strong genre of work that explores dark spiritual matter, mythology and death that is absolutely captivating. You can expect upcoming coverage of these sub-genres in coming weeks.
To be a visual artist is to also be a researcher. It is observing, questioning, and ultimately drawing conclusions that are reflected in a body of work. Not surprisingly, Alex Roulette begins new series with research. He gathers a large collection of source materials, including found images like vintage postcards. He photographs environments. They are all incorporated in his landscape paintings, which explore a place that is quasi-nostalgic for many of us – the suburbs. Roulette’s hazy, dream-like atmospheres allow us to draw upon our own memories and remember a time when things maybe weren’t so complicated.
Roulette’s paintings are of quiet moments. He’s depicted silent meetings, teenage hijinks, stormy nights, and more. They are meticulously detailed and his technique is reminiscent of Old Master paintings from the 16th and 17th centuries. While this type of rendering is not the most innovative approach to painting, Roulette’s obvious skill and talent for crafting a narrative make it hard to take your eyes off these paintings.
The longer you look, more details present themselves. You begin to question the intent of them, guiding your mind beyond what is painted. Where does the road in Crossroads (directly above) lead? What is down in that lake? Furthermore, what is inside the colorful structure in Backdrop (below)? We are supposed to ask these questions. Roulette wants us to find these images subtly uncanny. It’s not just in those strange details, but in our vantage point. He’s composed the compositions in a way that makes us the voyeur. We spy on a woman from a motel as she sits in a parking lot. Our view of swimmers is obstructed by plants, like we are seeing something shouldn’t be. It feels exciting and a bit strange.
It is difficult not to imagine a narrative when seeing the work of Terrence Payne. The Minneapolis-based artist uses elements of design, iconography, typography, pattern and figure, all rendered in a decorative style and soft pallete but with subject matter that is anything but. While the artist occasionally focuses on a central word or scrawled text behind the animals and repeating, archetypical figures, Payne’s paintings use loaded narratives that combine believable earnestness and well-intentioned antagonism.
To achieve the softness in the work, Payne first uses colored pencils to enhance the quality of light and jewel tones, then applies layers oil pastels which allows the the under-drawings show through. Payne says:
“I want you (the viewer) to see the mechanism of it. The idea is just how can I reinforce the sense of this being artificial, that these people aren’t real. They are just representations of what I am thinking about“
Terrence’s recent work has been concerned with “cataloging the human effects of trying to keep your head afloat in an increasingly polarized world of haves and have-nots” and “examining a person’s perceived place in society” and how that affects the way the work is perceived. This most recent work will be collected in an exhibition alongside Nick Howard (previously here) called Cake, at the artist-collective space Payne helped found, Rosalux Gallery in Northeast Minneapolis (which was named Twin Cities’ Best Gallery in 2013). Cake opens October 12th and runs through October 31st.
Michael Gaughan represents a new breed of hyper-creative talents whose work spans an absurd amount of media. Known for a variety of projects (including city-wide scavenger hunts, his chat-roulette in a mock-dorm room rapping identity Ice Rod, and for renting out his apartment for couples needing a romantic getaway on Valentine’s Day), Gaughan creates with an almost child-like glee. Despite the playfulness in the work, however, there is a sophistication and consistency that separates it from most. This is particularly evident in his highly-technical watercolor paintings, where art-world in-jokes exist seamlessly with pop-culture rimshots. In an exclusive talk with Beautiful/Decay, Gaughan summarizes his motivations, “Humor is not my main medium, but definitely a consistent theme in my life and my artwork. I think that putting yourself out there in a vulnerable way is really uncomfortable and nerve-racking. It is a lot easier to do things as a joke rather than take yourself seriously, and simultaneously I am equally motivated by the possibility of brightening up someone else’s day. I ultimately want to bring joy to other people.”
Gaughan’s work references “(art) history…obscenity, pop culture, absurdity, personal experiences, fears, feelings, misunderstandings, language, human experience, and creativity as well. Skate culture is great too!” When asked about the obvious amount of time spent on each work compared to the relatively short amount of time to elicit a humorous response (and if that adds to the joke), Gaughan responds, “Ha ha I hope so. It is also important to remember that punchlines can stay with you… Just because the audience can “get it” in seconds, doesn’t mean that they won’t revisit again it in their mind. I think art-work that takes longer to understand doesn’t necessarily mean that people will remember any longer than something that took only a second to get...”
The geometric paintings of Francesco Lo Castro are made from a time-consuming layering process that combines acrylic, spraypaint, occasional silkscreen and layered epoxy resin to create dynamic explorations of shape and form. This process is so intuitive that the artist says, “Geometry is just a word; it’s an aesthetic. There’s no math involved in it.”
The Italian-born, South Florida artist begins his work layering angular, taped-off shapes painted with aerosol and coated with a layer of epoxy resin. This layer is then sanded down, as is every successive layer, until the piece is finished. This process can take up to a month of 12-hour days to complete, according to an interview with New Times. Explaining his work, Lo Castro says “To me, these paintings represent our entire universe. These shapes are atoms. They are galaxies. They are representational of all that combined. They all represent evolving structures that are constantly in flux and ideas that are constantly clashing with each other. And with these clashes, new ideas arise, and we evolve through them. We have billions of people finally waking up and networking with each other; even if we don’t speak the same language, we are getting to know ourselves in the process for the first time. This kind of communication hasn’t happened before.”
Lo Castro expands this point in the interview, explaining that the former lowbrow arts movement star turned to his current geometric style as an evolution – one which mirrors humanities’ own path towards singularity. The artist o notes that his own work has found an international community thanks to technology and internet exposure, and also because of the geometric aesthetic that we can all share. Lo Castro continues, “I think geometry found me, because all you have are these colors and shapes. No matter what your age, your culture, or language you speak, everyone can jump in.” (via coolhunter and broward-palm beach new times)