The art of the glitch has made its way off the screen out of the realm of the accidental. Perhaps it’s the aesthetic source of a new abstraction. The form has also made its way street art and graffiti. Polish artist Krzysztof Syruć incorporates explicit glitch stylings and subtler inspiration in much of his work. This first piece seems to use its background as a source image. The image is distorted, ‘corrupted’, and reduced to basic values. Other pieces seem to reference circuitry, code, and even biological systems.
This week’s images bring us surprising works of beauty, detail, and wit. Sam3 brings a silhouette mural with an innovate use of the fence posts (I’m guessing located in rural Spain) – the piece references the expulsion of the Moors from the Ricote valley in the 16th century. We also have a giant new mural in Poland from Sainer of the ETAM crew. Alexis Diaz also give a new mural, an elephant/octopus creature a week in the making comprised of thousands of detailed brushstrokes. Stenciler DS smartly rebuffs the buffer – after one of his stencils was painted over DS replaces it with a portrait of the “remover man”. David de la Mano‘s is a poetic and carefully detailed mandala-esque piece. Ludo expounds on his theme of contrasting technology and nature with an impressive tulip-rifle mural. Nychos new piece in San Francisco finds a tiger literally jumping out of its skin. Finally, we have an awesome collaboration between artists POSE and Revok that followed their dual exhibit at the Jonathan Levine Gallery.
On his website, the street artist Spidertag describes his work simply by writing “It´s all about nails + pure wool + geometry + abstraction + streets + abandoned”. It can hardly be described more accurately. Using nails and wool yarn, Spidertag installs geometric abstractions in beautifully lonely locations. The work, as pure abstraction, doesn’t appear to reference any figurative object (except perhaps spiderwebs). Though maybe burgeoning trend within street art, this type abstraction and material sets Spidertag’s work apart as understated and unique.
Italian artist Mimmo Rubino, also known as Rub Kandy, plays with the city. His art’s relationship with the city and its citizens is interactive, even fun. His newest project is simple but imaginative. Rubino uses an urban mainstay as a canvas for his spray paint work: a cement truck. While the mixer spins, Rubino keeps a spraying can of paint steady. Repeating the process with various colors eventually covers the mixer in near perfect stripes. Appropriately, the piece is titled Revolver.
The pieces of Xuan Alyfe arrive from a variety of influences rarely found in street art. His work is largely abstract, but peppered with figures and other recognizable objects. The murals seems to subtly reference minimalist, surrealist, and even graphic design styles. Aylfe’s art even seems to piece together various influences of other street artists into his own distinct style. Perhaps appropriately, then, he has exhibited and painted murals worldwide.
Dutch artist Iepe Rubinigh and the Anonymous Crew took the term “street art” very literally with their piece Painting Reality. The group, equipped on bicycles, purposely spilled over 130 gallons of eco-friendly water soluble paint in a Berlin’s busy Rosenthaler Platz intersection. The cars then acted as brushes spreading the various colors through street. An abstract painting detailing the fluid-like flow of traffic unfolded over the next several minutes and 2,000 cars. Painting Reality introduced pleasantly bright color to otherwise drab asphalt. More than that, though, the “strokes” of paint documented the moving life of a city. Check out the video to the see paint drop and spread.
We each seem to know someone caught on Google’s Street View – even I can be found in my driveway on the online map. While its surreal finding a part of real life online for anyone to see, artist Paolo Cirio brings it back to real life again with his series Street Ghosts. Cirio finds images of people in Google Street View and prints life size posters of them. He then wheat pastes each person in the physical location he found them on Street View. Cirio makes a point of mentioning that the wheat pastes were printed and posted without authorization. This underscores that these images of various were acquired without permission to begin with. The series raises questions and concerns in regards to salvaging privacy in an increasing technological and commercial world.
The Billbored series of artist Dan Bergeron (also known as fauxreel) undermines the all to common visual language of advertising. His hijacked billboards, particularly his series featuring Carl the Plastic Baby, challenges passers-by to consider what they see more deeply. Like much of his work, Billbored investigates identity, consumerism, and the places they intersect. Carl the Plastic Baby, for example, playfully offers an an easy alternative to actual children. A website accompanying the billboard offers visitors the opportunity to buy a “child” of their own – their very own Carl delivered to their home.