Professional illustrator and graphic designer Marcello Barenghi has a long and successful career rendering visual narratives and designs. But recently his drawing demonstrations have given the Milan-based draftsman a new following, as his Youtube video series routinely tops over a million hits per video.
With stop-motion demonstrations showing how Barenghi renders commonly found objects ranging from crumpled snack chip bags, Euro coins and more challenging objects like mirrored silver teapots, viewers can watch how a master draftsman achieves his trademark photorealistic results. Although few students of pencil, graphite and airbrush will ever achieve the results Barenghi does, they can at least see the unlimited potential of the blank page when the artist demonstrates each step by step video. (via gizmodo)
Like most people, when I was a kid I loved playing with a kaleidoscope. Pointing it at different light sources and twisting the chamber caused a morphing geometric mandala to take shape before my eyes, magically shifting sunshine and the colored bits inside into a series of hypnotizing designs. The same part of me that was enamored with a kaleidoscope is the same part of me that loves juicy colored highly geometric contemporary art.
As the highly influential artist and color theorist of the Bauhaus, Josef Albers, says so succinctly in his classic book Interaction of Color, “As with tones in music, so with color- dissonance is as desirable as its opposite, consonance.” The dance of tension and fluidity in an ever changing kaleidoscopic pattern is a rhythm of light and hue, which there is an abundance of in contemporary art. There are so many artists out there these days who use these components in their visual art, however the five artists included here emerge with unique strength, vision and technical ability that is worth noting. Artists include: Dalek (James Marshall), Maya Hayuk, Richard Colman, Amanda Airs and Jeff Depner
Taking images from auction catalogs, artist Kour Pour translates intricately-patterned carpets onto paneled surfaces. The multi-step process is labor intensive, not to mention large – his work is 8 feet tall. First, Pour scans in the image of a rug and burns it on a silk screen. Then, he uses a broom to begin his underpainting (the texture gives it an appearance of a textile). Afterwards, he silkscreens the design to the panel and begins the work of painting every painstaking detail. The final step is to use an electrical sander to erase the painted surface and expose the layers of the under-painting. What results is work that looks like an faded, well-worn rug.
Pour is both British and Persian, and when he was younger, his father owned a rug shop in England. His work is tied to this past, as he explains in his artist statement:
Carpets were a part of my childhood growing up in England. I remember my Father’s rug shop, and how he would hand-dye sections of carpets that had faded away, in order to bring them back to their original colours. I felt that in doing this, my Father was making an effort to maintain all their history and meaning, as if he was bringing the carpets back to life. When I first moved to Los Angeles I had feelings of displacement and much like the faded carpets, I too felt a part of my history disappear. I started the carpet painting series and noticed how art and objects could play an increasingly important role in our diverse society. Through making these paintings I am constantly learning more about my background and the rich mix of culture that surrounds me and the carpets.
By recreating carpets, Pour highlights their meaning as object, as well as the implications of their surface design. They signify an object of privilege (as their originals come from an auction catalog), and our commodity-based consumer culture. Beyond that, the patterns of animals and men on horses is representational of globalization, a culture’s history, and more. (Via Bmore Art and Flat Surface)
The first quality one may see in the brightly-colored, bent steel pieces by Rana Begum is the potential to shift based on perspective. From one angle, viewers will be confronted by a flat, monochromatic shape jutting from the wall, while another view offers more intricate geometric patterns spreading across several pieces. This is the legacy of Sol Lewitt, Donald Judd or Agnes Martin – to take the simplest shapes and through color, form and collection, imbue them with complexity and depth. As Begum explains, “Its so beautiful the way the simple form and shape can be repeated to create a space like that”
Though Begum lists these more modern artists as influences, theBangladeshi-born, London-based artist also explains that the Aniconism (belief in avoiding/outlawing representations of divine beings, prophets or any human beings in religious imagery) traditions of Islam were equally influential. This tradition was responsible for the exquisite geometric and intensely detailed works seen in classical Islamic architecture, a connection which is apparent in Begum’s deceptively simple works. “For me, architecture evokes memories of reading the Quran as a child in a mosque in Bangladesh,” said Begum in an interview with Surface Magazine’s Marina Cashdan, “which was bare, simple, and had a lot of light coming in through the windows.” This shifting imagery can be seen in her works, where repetition and simplistic elements collectively offer complexity.
Begum’s most recent works often uses paint on Origami-like, bent mild steel and powder-coated aluminum, but she has also begun using brass and copper as a base for her wall sculptures. “[They are] materials I spent a long time researching and I’m excited to use them for this show,” she says. “They bring an extra dimension to the works” (via wallpaper* and surface)
For more than several years now, Rosemarie Fiore has painted with fireworks. She does so by creating machines that produce an action, like lighting a combustible container to produce smoke. The results are colorful, non-representational images that are very gestural, as if the artist is taking us on a journey. Fiore writes about her work, stating:
My drawings are created by containing and controlling firework explosions. I bomb blank sheets of paper with different fireworks including color smoke bombs, jumping jacks, monster balls, rings of fire, and lasers. As I work, I create imagery by controlling the chaotic nature of the explosions in upside-down containers. When the paper becomes saturated in color, dark and burned, I take it back to my studio and collage blank paper circles onto the image to establish new planes and open up the composition. I then continue to bomb the pieces. These actions are repeated a number of times. The final works contain many layers of collaged explosions and are thick and heavy.
Fiore’s machine is built out of mixed media and found materials. It is fitted with wheels and is comprised of multiple connected containers. When lit, the machine creates a combustion that releases smoke at different intervals.
There’s no doubt that Fiore’s work is labor intensive, as she describes the physical and repeated process of building her images. Knowing this information provides for a greater appreciation of the work itself; It transcends what’s on paper and becomes the product of ingenuity.
Celebrated artist Alberto Giacometti once said, “The object of art is not to reproduce reality, but to create a reality of the same intensity.” Giacometti was an artist noted for his abstraction and deconstruction of the human form, which he depicted through a multitude of sculptures, paintings and drawings in elongated shape and scumbled lines. Figurative paintings and portraiture are nothing new, yet subgenres of portraiture continue to emerge, survive and move us. The common phrase “Beauty is in the eye of the beholder” aptly applies, and the activation of perception, observation and process are represented in beautiful and intricate ways in the four contemporary artists whose work is featured here. Featured artists include: Karim Hamid, Colin Chillag, Borondo and Angela Fraleigh.
The work of Mathew Zefeldt(previously featured here) successfully balances improbable combinations – modern with historical, digital with classical, painterly foregrounds with computer-like backgrounds – all by densely rendering them in traditional painting techniques with oils and acrylics. Having created an advanced personal lexicon of art historical references to classical sculpture, as well as to abstract and figurative painting, these figures cohesively exist alongside more modern glitch aesthetics, shifting colors, garish patterns, and computer-like repetition. Through the combination of these disparate elements, Zefeldt recalls the history of the painting medium, while referencing the potential to represent our new, hybrid reality. Explaining his work, the artist says, “My paintings are still-life arrangements that take place in my head; they are windows onto a fictional world, governed by rules based in the real world, but bent and broken…”.
These still-lifes exist in another improbably capacity, that of using both illusionistic depth and perspective, but on two-dimensional plane. This use of the flat-plane is more often found in collage, as is Zefeldt’s tendency to repeat (almost) identical imagery. When asked by Beautiful/Decay why he chooses painting to construct his explorations of a variegated contemporary visual culture, Zefeldt replies, “It would be a million times easier to collage or photoshop rather than paint. But paint forces you to slow down. Painting the same thing over and over again is almost meditative. Painting can be subversive too. Everything is getting more digital, movies etc. I think its important to keep making things manually, by hand.” This attention to craft highlights a uniquely human quality, where each sculptural bust appears exactly the same, but holds its own standard of flawed beauty upon closer inspection.
The Minneapolis-based painter will be featured in the group exhibition Figure Ground(curated by Gideon Chase - previously featured here) at Eleanor Harwood Gallery in San Francisco, CA. The exhibition (which opens January 10th and runs through February 8th, 2014) features work which explores the relationship between the figure and the foreground, testing different styles of background, illusionistic dimensions and a flat plane’s ability to contain both subject and context in a search for meaning.
Artist Ramiro Gomez alters luxury magazine ads and photographs by adding in the often-underpaid workers that make their beauty and opulence possible. He paints gardeners, cleaning ladies, people who maintain swimming pools, and more. They are faceless bodies and appear like ghosts in and in front of mansions and sunny palm trees. By doing so, Gomez highlights the disparity between these lavish lifestyles and the workers who barely make minimum wage.
Gomez experienced this firsthand as a live-in nanny for a wealthy West Hollywood family. In an interview with Fast Company, he states, “It was interesting the feeling that would happen as I was signing off this purse, that the family had so much already, yet they weren’t able to pay [me] more,” Gomez says. “I took it personally, in a way.” This job was also where he first had the idea for the series. After fishing magazines like Dwell and Luxe out of the trash, he tore out the ads and started painting in figures.
So, what do affluent folks think of Gomez’s work? Those that have seen it actually like it, including his former employers. His paintings illustrate the complex economic system that find ourselves in. Those who can most likely afford Gomez’s work are ones that identify with the luxury lifestyle. But, they are essentially buying work that is critical of their status. That’s part of the point of Gomez’s paintings – to engage with an audience who might otherwise not realize the other side of their privilege. (Via Fast Company)