British artist Charlotte Mann is known for her elaborate wall drawings and drawn room installations. These densely detailed 1:1 scale drawings of rooms in rooms are invariably made with thick black marker pen on a white ground. The medium may be simple but Mann’s obsessive attention to detail pushes her work into a new realm creating dizzying installations that make you take a second look at your surroundings.(via)
Chinese artist Li Hongbo explores the adaptability of his medium by playing with the concept of the children’s toy called ‘paper gourd’. This toy is made from a stack of interconnected sheets of thin paper that can be stretched to form new shapes. Li Hongbo’s paper figures challenge the human form. Resembling human bodies, they rebuild the idea of what the human form can look like. The flexibility of these sculptures allows for a hyper-extension of the limbs, creating abstraction from realism. These elongated limbs, which have the ability to tumble out from the figure’s barely distinguishable core, allow us to find a new, playful and anomalous aesthetic. (via)
Kyle Kogut is a recent graduate of the Tyler School of Art at Temple University. His mixed media work often blends technical printmaking techniques with expressionistic, supple applications of paint. Set within a refreshing, distinctive palette, his compositions are full of energy and variation, yet never come off as cluttered or overly busy. This ability to conduct myriad elements within a functioning, harmonious whole works well with his current subject matter- Nature, and organic life. From the artist’s website:
“While impossible to surpass Her, my study of Nature and the phenomenon that is life has been a continuous investigation of organic patterns and forms, stemming both from visual observation and also subconscious mark-making.”
Kogut just closed an exhibition at Philly’s F&N Gallery. Make sure to check out his tumblr.
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Ori Carino works with techniques, compositional elements and aesthetic styles from classical Tibetan and European art. He juxtaposes Tibetan art’s unique synthesis of the pantheon of decorative painting and textile techniques of the east, including refined and sophisticated brush stroke technique, with western methods like perspective, foreshortening, and rendering. Additionally he uses an airbrush, as a mini spray-paint can at times and for applying a glaze at others – going back and forth between gesture and wash and between classical and contemporary. In the end, it’s smooth glazes, opulent and elaborate surfaces, embossed gold, and rich color, all to reveal the horror, comedy, sex and drama unfolding as a divine play.
Vhils doesn’t just apply his street art on top of walls but actually carves into them creating a permanent site specific image that is ingrained onto the surface of the buildings. Becoming one with the pre-existing architecture Vhils chips, scratches, and cuts away at the walls revealing images that were there all along but that no one could see.