Artist Fabian Oefner has a strange way of painting. For this series a rod is covered in various colors of acrylic paint. The rods is connected to an electric drill which in turn is connected to a sensor that activates a camera flash lasting only 1/40,000 of a second. The moment the paint begins to be flung in all directions off the rod (according to Oefner, one millisecond, to be exact, after the rod begins spinning) is caught by the carefully timed flash. An instantaneous hurricane of color is frozen in midair capturing a structure that only exists for a fraction of a second. [via]
Artist Mark Dean Veca opened his new solo exhibit Made For You and Me at Cristin Tierney January 31st and is on view through March 9th. The title of the exhibit is a lyric from the Woodie Guthrie song This Land is Your Land. The song, originally expressing an anti-capitalist sensibility, has since often been appropriated to convey capitalist sentiments such as growth through consumption. Interestingly, Veca’s work often reverses this same process. He re-appropriates corporate images to comment on corruption, consumption, and a generally waning culture. Appropriately the gallery statement calls his work a kind of “Sinister Pop”. This is particularly evident in his piece titled Tailspin. The piece depicts the Exxon-Mobil Pegasus pointing down, blue on one side, red on the other, and spinning. Tailspin subtly references a society’s consumption dependent on energy resources that are exceedingly spinning out of control.
Diane Han is an illustrator and graphic designer originally from Korea, but now living and working in Los Angeles. While diverse, a common thread through Diane’s work is a play on words. Working largely with acrylic on paper, Diane plays with different means of representing animals in order to tell a story that is often critically and socially driven, while still managing to be so approachable and pleasant. I personally love the skunk piece after the jump, talk about a problem-solver.
Robert Josiah Bingaman is the master of beautiful dark landscapes. Bingaman states about his work: “My studio practice is an idiosyncratic teeter-totter; a shifting set of consistent obsessions. The first, to be “out there”, in the distant places, and the second, an anxious need to permanently mark the rare, fleeting moments that originate from those places. The scenes I paint are the result of an indulgent desire to regain the innocence and satisfaction I once associated with the subjects depicted. Yet, in the offing, these paintings reveal my struggle to name what I haven’t found.”
As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Alexandra Grant. See the full studio visit and interview with Alexandra and other West Coast artists at www.inthemake.com.
Alexandra’s studio is in the historic West Adams district of Los Angeles, just a short distance from Koreatown and Downtown. From the outside her building looks like a non-descript, kind of funky commercial space that in no way expresses how big her studio actually is. The place is huge with a cavernous feel to it— cold, shadowy, and resounding with echoes, it heightened every one of my senses. Everything I took in seemed exaggerated: the damp air, the bright fluorescent lights, the vibrant colors of Alexandra’s paintings, and the steady rhythm of her voice. Long after our visit those impressions continued to linger, as did much of my conversation with Alexandra. She is a force to be reckoned with— her brain is agog with ideas that she expresses in a continuous flow of conversation, often jumping from one thought to the next as they wildly run through her mind. Her energy is infectious and inspiring, and makes you feel like the world is in fact full of promise, insight and adventure. Many of Alexandra’s paintings are collaborations with writers and their ideas, which makes sense because she appreciates the complex nature of dialogue: the exchange of both concepts and language, the act of deciphering and interpreting, the twists of subtext, and the inevitable losses in translation and how we make up for them. By borrowing writers’ poetic language she utilizes the format of dialogue to create “conversation” between image and text. In engaging text and image this way, the work then becomes a liminal space that challenges the viewer’s ability to perceive and hold both elements at once.
I’m a little bit in love with the work of Tel Aviv-based artist, Guy Yanai. He chooses to paint routine spaces and objects that range from his therapists office to potted plants. He then abstracts the images into simplistic bright colored shapes that leave you with a graphic imprint of the everyday. Check out more of his work after the jump.
As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Serena Cole. See the full studio visit and interview with Serena and other West Coast artists at www.inthemake.com.
Serena’s studio is in her Oakland apartment, a modest space that she has efficiently rigged to accommodate her needs. She’s set it up so that her studio takes up most of the apartment’s square footage, but she keeps things flexible with furnishings that are easily moved and rearranged. I’m always impressed with resourcefulness and am appreciative of the kind of ingenuity that comes out of necessity and that manages to circumvent a set of limitations. In fact, the idea of limitations kept coming up for me in thinking about Serena’s artwork because her pieces are very much visually dictated and confined by her reference material. Her work directly appropriates the fashion imagery of advertising campaigns and editorial spreads, highlighting the patterns and tropes used to elicit desire and encourage consumerism. In taking on this imagery, her work attempts to examine what is revealed about our collective psychology, the culture of consumption and escapism, and the complexity of fantasy. In our conversations, she acknowledged that she isn’t so much trying to create something new, but instead aims to deconstruct already existent imagery in the appropriation of it. But this is a slippery slope— in being so tightly tethered to the aesthetics of the fashion world, Serena’s work runs the risk of coming off as analogous instead of questioning. Serena is aware of this risk— in creating art within a framework already heavily loaded with well-established associations, value, and perimeters, she knows the trick is to get the viewer to recognize that there is actually a lot at stake amidst the glitz and glamour.
The paintings of Chase Westfall are pleasantly elusive. His work often toes the line between abstraction and figuration. He seems to often swing from sunny imagary such as flowers or rainbows to that of mutilated animal carcasses. However, he never gives it entirely away. The imagary often is obscured by a diamond grid work or its own abstraction. The viewers eyes constantly shifts between deciphering the images and inspecting the pattern, neither resolving the other. His oil paintings are executed on linen contrasting the soft surface with his hard edged geometric shapes.