Baltimore based illustrator and designer Gel Jamlang illustrates surreal watercolor and acrylic pieces that largely feature the human body, sometimes paired with animals or painted with an interesting symmetrical or mirroring effect. Jamlang’s illustrations combine realism with whimsical imagery to create a dynamic and energetic composition. The figures in her illustrations seem to lack boundaries – they merge or spill into other figures.
Of her process, Jamlang explains, “Watercolor behaves so unpredictably… It is very exciting to use. It drives itself. The transparency and the brilliance of the colors all swirling around are thrilling. And when you use it side by side with acrylic, the more opaque, dense and unyielding medium, the contrast can be beautiful.” (via hifructose)
Lora Zombie‘s watercolors may look familiar: the Russian artist amassed a large internet following on sites like Threadless before recently branching out into the gallery scene. Inspired by music, street art, grunge, pop culture, and the color palette of Lisa Frank, Zombie creates these bright, youthful, and edgy watercolor scenes. Her work is comprised of a multitude of references that can be fun, gritty, absurd, or counter cultural, but each tells a story with fairy tale dimensions.
You can watch a video of Zombie in New York City for her “Blue Bird Lobotomy” show in November 2012 here. You can purchase prints of her work here. (via lustik)
Kyle Field, an Alabama native living in San Francisco, was born in the 1970s– and his artwork tends to reflect the mood of not only these two places, but also that era. Each craftily drawn watercolor depicts a folk narrative infused and confused with melodious psychedelic tendencies. It’s all so playful and harmonious. We find it challenging not to think of Field’s work in any other way but musical.
Whether David Mesguich is creating sculptures or painting with watercolors, he maintains a basic color palette, heavy in contrasting blacks, whites, greys, and tones of sepia. His geometric sculptures of faces and people look like they were printed from a 3D printer. This conception gives his figures a digital effect that, when paired with the size, gaze, warp effects, or placement of them, has the potential to unsettle a viewer. This effect is even more pronounced when considered alongside Mesguich’s cardboard CCTV camera sculptures,100 of which he placed in various locations around Marseille. This idea of surveillance is even depicted throughout his watercolor paintings that represent scenes of city life, usually related to mobility and movement. Mesguich’s work seeks to challenge “modes of control” by addressing the “transparency of windows and shadows.”
Emily Deutchman‘s 44 watercolors liven up the genre of presidential portraiture with — you guessed it — boobs. Each take on the president’s official portrait becomes a super easy, lowbrow Where’s Waldo. But, you know, with boobs. While seated portraits can often be elitist, the results here are a great reminder on Election Day: just because you may have held one of the highest offices in the world, your image is still very much in the hands of the people.
As part of our ongoing partnership with In The Make, Beautiful/Decay is sharing a studio visit with artist Marci Washington. See the full studio visit and interview with Marci and other West Coast artists at www.inthemake.com.
We visited Marci in her backyard studio in Berkeley. It sits just behind her home, a kind of garage/storage space that got converted into a cottage. It’s comfortable and functional, with an open feel to it. Marci is full of gusto— she talks with her hands, takes on all kinds of facial expressions, and she’s funny as hell. She enthusiastically moved through our conversations, at turns awkward and eloquent, but always unguarded and real. We talked about a lot of things, but her affinity for the landscape of the English moorlands, particularly within the context of Romantic Literature, really struck me. Those rolling, uncultivated hills covered in low-growing grass, shrouded under heavy fog and moody skies have wholly captured Marci’s imagination. And it makes sense that they have— much of what interests Marci is mirrored in that rugged, desolate scenery. In various Romantic and Gothic works of literature, the moorlands often represent mystery, mysticism, liberation, turmoil, and passion; they frequently echo the psychological state of the characters, and reveal their greatest desires and fears. Marci’s current work references not just the physical landscape of the moors, but also speaks to themes found in a lot of this kind of literature, and the universal emotions that are evoked—all those feelings and ideas that run wild with mystery, awe, darkness, terror and beauty. I think Marci is after a particular kind of mood that toes the line between terrifying and thrilling, creating a response that’s simultaneously overwhelming and invigorating. All of this plays into her sensibilities as an artist, but also as a person: her love of Edward Gorey and his eerie illustrated books, her unflinching need to feel everything very deeply, her leanings towards the bizarre and unique, and her fondness for the not-entirely-explained. It’s pretty damn amazing that come November Marci will be showing work in England, not far from the wild and lonely moors that have taken up so much of her imagination.
Liz Insogna‘s Afterlife draws from Greek mythology surrounding the realm of Hades. Two bodies of water, Lethe and the Pool of Memory, offer dead souls a couple of options in how they want to handle their past life’s memories when reincarnated. Common souls flocked to Lethe to wipe the slate clean. For those who resisted the temptation of Lethe and convinced the guards to let them pass, the Pool of Memory promised knowledge of past lives as well as the future well into your new life.
It’s a rich territory that Liz Insogna explores with dream-like watercolors and oils, lingering, swirling and fading near subjects that seem despondent.