Artist Brittany Schall created incredibly detailed drawings for her series Hair Studies. The mixed media pieces are certainly portraits but are decidedly missing faces. Instead she focuses entirely on each subject’s hair. The flowing masses nearly seem to suggest a mesmerizing movement. Locks tumble like smoke or water and imply the underlying form. Each subject’s hair carries a seeming personality of its own, a portrait of sorts in its own right.
These amazing sculptures of swallows are the work of artist Jeremy Mayer. Like his other sculptures, the swallows are entirely composed of parts taken out of typewriters. Mayer doesn’t even use glue or soldering to keep his swallows together. He says of his art and process:
“I’m very interested in assembly, particularly in nature. I pay very close attention to the strong current in science and technology flowing inexorably toward an emulation of natural systems.” [via]
Brooklyn based artists Wade Kavanaugh and Stephen B. Nguyen have been collaborating since 2005. Together they create expansive installations that fill gallery spaces. The installations’ size forces visitors to interact with it. Made from natural materials such as wood and paper, their work carries an organic atmosphere. The installations often resemble trees or entire forests, mangled, twisting and growing. The paper seems to be giving a nod to its origin as an almost ironic choice of material.
The words ‘serif’ and ‘sans serif’ can get a designers heart beating a bit faster – new and interesting fonts can be a inspirational jumping off point. These photograph based letters from New York based photographer Bela Borsodi definitely have a wide appeal. Borsodi uses household objects and empty space so as to nearly make it appear he happened on the letters by chance. He clearly has a knack for making the meticulously planned appear casual. Borsodi’s skill has won him clients such as the Esquire, Details, and the Wall Street Journal. Also, see his work previously here. [via]
These installations of Jason Peters began with garbage. While driving he spotted many of these buckets – the five gallon type often found in hardware stores. Soon Peters had collected hundreds of them. His installations utilize these buckets to form huge winding installations. The stacked buckets snake through large gallery spaces lit from within. In his statement, he says of his work:
“By using large multiples of discarded items in repeating designs that establish unexpected patterns, societal cast offs are made beautiful through the alliteration of form. Once removed from their traditional context, the objects’ interaction with the environment becomes unpredictable and unstable”
The installations of Argentine artist Leandro Erlich are known to be visually playful. His most recent installation definitely follows suit. For Dalston House, Erlich constructed a facade of a three story home which lies horizontally on the ground. A giant and cleverly angled mirror gives the facade, and those on it, the appearance of being vertical. Visitors hang from roofs, sit casually perched on ledges, and effortlessly walk down the wall. Also check out Erlich previously here.
Perhaps in the strictest sense, these abstract pieces by artist Siebren Versteeg aren’t paintings (or maybe in any sense they are not really paintings). However, they do say quite a bit about painting and creativity. Versteeg created code that utilizes a complex set of algorithms to create these pieces. The work is then often printed on to paper or canvas. Versteeg observes patterns, tendencies, styles in abstract expressionist painting and uses these as the basis for the code that create these “paintings”. His programmed algorithms work with variable qualities such as viscosity, color, drips, and so on. The program then “decides” how to use and combine these variable in several layers to create a complete composition. In a way, the art is in the code Versteeg creates – the paintings merely a visual manifestation of that code.
These sculptures by artist James Capper are working hydraulic implements. Their primary colors, spare design, and steel build make the pieces out to be purely utilitarian construction tools. However, these aren’t actual power tools and they don’t necessary build anything. Instead they sit menacingly with feeling like of the premonition of violence. You can almost hear the hiss and huff of air powering the blades. Perhaps the tools are a hint at the violence implicit in production and progress.