Detective Jason Harvey, a forensic sketch artist who has worked for the NYPD for over 10 years, draws fun and flamboyant portraits using the same techniques as he employs in his police work. His drawings might be recognizable to some New Yorkers, as it they are featured on “wanted” posters hung all around the city. However, Harvey has been given the opportunity for his work to be seen in a new light. Adam Shopkorn, owner of Fort Gansevoort Gallery, noticed Harvey’s work on the NYCAlerts Twitter and wanted to put it on display, allowing Harvey to jump from detective to artist. The NYPD wouldn’t consent to showing the actual sketches (as they are criminal evidence), so instead, Harvey has created a series he calls Fantasy Composites. Within this body of work, Harvey uses the same renderings and facial feature creation process as he would sketching up potential criminals, yet this time he is depicting imagined faces. Harvey explains the difference between this body of work compared to his detective sketches; he states, “when I’m interviewing an eyewitness and drawing from their memory, I have to strictly adhere to what they’re telling me about the person’s face.” He notes that the forensic work is “not creative at all.” Nonetheless, his imagined series is full of creativity and exuberance. Each work truly has it’s own character — there is a real sense that Harvey has seen it all. Nothing is too obscure or obscene, every portrait seems absolutely genuine, if not almost recognizable. The caricature quality adds a playful element to his work, allowing them to exist between the realms of cartoon and reality, between satire and actuality. (via booooooom)
French designer Maud Vantours creates astoundingly detailed works of art from finely cut paper; carving out perfect geometric and organic shapes, she layers page upon page to create deep cavernous holes and intricate surfaces. With paper patterns of midnight blue and desert yellow, she constructs mesmerizing spaces, strange and wondrous terra incognitae, or lands unknown. Flowers sink like caves below the topmost surfaces; gray parallelograms, like mounds of be achy sand, are emerge from the page.
Vantours’s transfixing images catch and trick the eye, which is accustomed to viewing artwork on a single plane; her works exists in a space all its own, caught between sculpture and line. The work is made both from peeling away and adding layers, and we view it like a vibrant onion, unsure of where it begins or where it might end. Colorful, ever-brightening concentric circles seem infinite, and repeated, detailed surface patterns resemble complex cathedral windows. Blue and orange or green and pink, being opposite colors, visual pull apart from one another, creating an illusion of even greater depth within the thin pages.
From a medium as simple as paper, Vantours renders a dreamy world where organic and mathematically precise shapes are celebrated and fully explored. These deceptively effortless collages are a testament to the order of the natural world; neatly aligned, bright and neutral colors emerge from the shadows. Single and double-layered cut-outs occlude one another, forming complex visual structures that necessitate our attention and captivate our imaginations. Take a look. (via Demilked)
Alex Chinneck is a London-based artist and designer, recently responsible for an installation that cleverly combines both disciplines. In Margate, a tiny town in Kent, England, a dilapidated home in the Cliftoncille district which had laid in ruins for months has been transformed. By remodeling the brick exterior and exposing the building’s top floor, Chinneck has altered the facade of the building to look as though it has become a single sheet and slid from the rest of the house.
Playfully titled From the knees of my nose to the belly of my toe, Chinneck extends his experimentation for surreal constructions and alterations of ordinary buildings (past projects include 312 identically smashed windows near the Olympic Stadium, and a melting brick wall). In an interview with Dezeen, Chinneck stated “I just feel this incredible desire to create spectacles, I wanted to create something that used the simple pleasures of humour, illusion and theatre to create an artwork that can be understood and enjoyed by any onlooker.“
Chinneck goes on to state some intentions of the piece, though admits they mostly have come after the piece’s construction. “It has social issues, it struggles with high levels of crime and the grand architecture has fallen into a fairly fatigued state,” says Chinneck, “I increasingly like that idea of exposing the truth and the notion of superficiality,” he explained. “I didn’t go into the project with that idea, but as it evolved I started to like that.”
From the knees of my nose to the belly of my toe can be seen at 1 Godwin Road, Cliftonville, Margate UK, until October 2014, when it will again be turned into residential housing.
The slick and shiny paintings by Kasia Domanska of dreamy summertime beach fun makes me want to play hookie and run off to Malibu for the day.
Taylor Baldwin’s highly crafted sculptures are filled with hundreds pieces that come together to create a complex explosion of texture, color, material, and sculptural techniques. From representational wood carvings to computer assisted laser etched drawings, Taylor combines anything and everything to bring to life his rich pieces that will have you staring at them for hours.
We’ve posted David Maisel’s work before. His aerial photographs of open mines depict the colorful transformation of polluted areas. His new project, Library of Dust, catalogues individual copper canisters containing the unclaimed remains of patients from the Oregon State Insane Asylum who died sometime between 1883 and the 1970s. Each canister’s chemical decay is uniquely colorful; the aesthetic resonates with transformation indicated in his aerial photography. “Among my concerns with Library of Dust are the crises of representation that derive from attempts to index or archive the evidence of trauma; the uncanny ability of objects to portray such trauma; and the revelatory possibilities inherent in images of such traumatic disturbances. While there are certainly physical and chemical explanations for the ways these canisters have transformed over time, the canisters also encourage us to consider what happens to our own bodies when we die, and to the souls that occupy them.”
William S. Stone’s work blurs the lines between design and art with his reimagined chairs and other domestic furniture.
Not much info on brazilian artist Helena Tokutake’s site but there is a nice assortment of drawings depicting sweaters, crosses, and quirky landscapes.