In her exhibition “Black Fairy Egg Nest,” Julia Sinelnikova asks us if fairies are good or bad. Experienced as a ritual site with candles and stones, “Black Fairy Egg Nest” feels like a secret den where winged creatures could emerge at any moment. The primary piece hovering overhead is a nest of hand cut resin light sculptures dripping into the exhibition space. A pregnant mass leaks thin glowing strands and dark stones dangle towards the ground below.
But while there is a medieval and religious feel to the work, Sinelnikova is more broadly concerned with the distinction between who we are and how we present ourselves to the world. Her use of a fairy as the icon of the work symbolizes the contradictions inherent in our identities. As Sinelnikova points out in her artist statement, fairies are represented as both benevolent creatures who grant wishes and tricksters who can thwart even the most noble of plans. In this way fairies seem to be like us, flying between the light and the dark.
“Black Fairy Nest Egg” is part of Sinelnikova’s larger “Fairy Organs” work and includes sculpture, video and performance. “Conjuring Rebirth,” performed by Sinelnikova aka The Oracle and Xenolith Yolita aka Culttastic uses the glowing, dangling sculptures as a location for mystical curiosity, acquiescence and frustration. “Meditation on Suffering” centers around a glowing square where multiple women decked in shimmering foil move in concert with whispering voices in a neon lit disco. “Sentinel Seraphim” moves the multiplied women out of the geometric world of “Meditation” and into nature where the foil then takes on the likeness of wings.
Julia Sinelnikova is an artist and curator working in New York City. She has had solo exhibitions in Brooklyn, Austin, Houston, Barcelona, and Oulu (Finland). She recently curated “LEMNIVERSE: Vector Gallery at Art Basel” at SELECT Fair, Miami Beach and “Seeking Space 2014” at the Active Space, Brooklyn.
Daan Botlek‘s trademark figural painted works always evoke a certain one-off kind of narrative, but his latest series, Escape From Wuhlheide, carries this idea even further. Based in the Dutch city of Rotterdam, Botlek (previously here) was exploring an abandoned and graffiti-filled building in Berlin, when the idea of painting an escape came to mind.
“While wandering through Wuhlheide looking for some spots to paint the idea arose…to make some sort of storyline of an escape.”
The story in Escape From Wuhlheidereads like a cartoon rendered in real life, blending street art, animation, illustration and painting. Each ‘cell’ of the escape is painted individually, depicting two blanked-outline characters making their way through the dilapidated space, peeking around corners, crawling up walls and climbing ladders. Each ‘cell’ is then photographed, documenting their run away. (via colossal)
Never has the thought of books and newspapers becoming obsolete been so appealing. Artist Alexis Arnold makes the idea attractive by gathering different National Geographic magazines, Bibles, and discarded phone books and turns them into crystallized sculptures. She dips each book into a Borax solution which, when left alone for a short time, ‘grows’ crystals. The spines and pages harden and freeze, warped and bent out of shape like they have been found in a time capsule.
Arnold’s series The Crystallized Books are a sentimental and nostalgic view of a time slipping away from us, now we are immersed in the world of eBooks, PDFs, Kindles, and portable tablets. As more and more bookshops close everyday, we are seeing the printed page become obsolete and unused. She explains a bit more about the project:
I had been growing crystals on hard objects and was interested in seeing the effect of the crystal growth on malleable and absorbent objects. Conceptually, the series addresses the materiality of the book versus the text of content of the book. The crystals remove the text and transform the books into aesthetic, non-functional objects. The books, now frozen with heavy crystal growth, have become artifacts or geologic specimens imbued with the history of time, use and nostalgia. (Source)
Arnold says even though she primarily uses the laundry detergent ‘Twenty Mule Team Borax’ in boiling water, and other Salt Crystals, you can use a number of different household products to try it yourself. You can even check out how to experiment at home with the help of this video. (Via The Creator’s Project)
Beautiful/Decay recently “wrapped” up our Book 2: What a Mess! Release party at Synchronicity Gallery. The event was super fun, with the Beautiful/Decay team past & present in full force, including appearances by such former B/D intern superstars as Lyndsey Lesh, Greg Ruben and Alexis Kaneshiro! (Am I forgetting anyone?) The B/D team had a booth replete with gift wrap, the debut of Book 2 and more. Check out our Flickr page for images of the bash!
In his project Original/Ideal, British photographer Scott Chasserot tries to answer the question “What would we change about ourselves if no one were looking?” Using photography, image manipulation software, and an Emotiv EEG brain scanner, Chasserot’s project attempts to discover each individual’s ideal self-image without having the subject utter a word. It’s an interesting combination of art, science, and perception.
The first step of the process is to remove or reduce accessories and enhancements from the subject being photographed. Makeup is removed, hair is pulled back, clothes are adjusted so as not to appear in the frame—the goal is neutrality. The photograph is taken, then manipulated into 50 versions, each with tweaks to facial features, head shape, coloring, and more. The subjects are then hooked up to the Emotive scanner which records brain activity while they are shown the altered images. The scans are examined for signs of “engagement”—particular mental focus which Chasserot interprets to be a positive reaction. The image that produces the most positive brain reaction is thought to be the subject’s ideal version of his- or herself.
“What do we find instinctively beautiful in the human face, and how does this translate to self-image?”
It’s interesting that Chasserot equates an unvoiced preference to instinct. After all, even though the person’s reaction to his or her images is ungoverned, societal influences, cultural ideals, and pre-existing ideas about attractiveness are all learned, not instinctive.
“The methodology is still in pilot study phase,” Chasserot told The Creators Project. “There is plenty to be improved upon. The ‘Ideal’ image is simply the one with the greatest positive reaction immediately after presentation and that cannot be distinguished from any theoretical, specific ‘ideal self’ reaction.”
In the photos below, the original image is on the left and the chosen “ideal” version on the right.
Tomás Saraceno takes the spider’s web as a starting point in Galaxies Forming Along Filaments, Like Droplets Along the Strands of a Spider . Investigating how the gossamer thin filaments of these intricate webs are able to suspend life by way of intricate geometry, Saraceno suggests at a conceptual architectural proposal that relies on this most delicate and prehistoric system of life to take us into our future. Of particular interest is the application of this phenomenon throughout the history of time. A keystone to Saraceno’s fascination with these web constructions was the recent discovery that suggests the early universe was a sponge-like form, with galaxies forming along filaments, like droplets on a spider’s web. (via faith is torment)
Dale Edwin Murray‘s “Hip Hop Heads” are a collection of iconic rappers designed with a distinct early-60’s feel. It’s almost as if Sterling Cooper was their ad agency. Murray, a designer and illustrator based in the UK, started the collection as a personal project, which quickly gained attention for his precision and creativity. His scanned-in textures really make this portraits pop. Murray’s ability to recreate some of the most colorful characters in hip hop, such as Kanye West and Notorious BIG, pictured above, in such a strong geometric style is impressive.