Amanda Merten makes you wonder what sorts of things you could cook up with the time you spend diving deep into the bowels of the internet in search of sacred, yet-undiscovered images of cats to turn into potential memes. From styling to modeling to photography– the skill she contributes to The Smartest Thing She’s Ever Said. Amanda seems to do it all and do it all pretty well. We talk to her here about being a do-it-all, the intriguing story she’s working out with her collaborator Alice Gregory, and the mythic lack of good Mexican food on the East Coast.
Examples from several Greenpeace-commissioned ads that have just been revealed in and around Copenhagen airport in the run up to the 15th United Nations Climate Change Conference (COP15) that takes place in the city next week. These ads feature a doctored image of a current world leader looking ten or so years older lamenting for their current inaction. Ad writer Toby Cotton of new agency Arc Communications (seemingly without a real website yet?) says about his choice of design that “the brief from Greenpeace International was simple, to put pressure on world leaders to create a fair and binding agreement at Copenhagen.” World leaders and big players in the Conference from around the world including Nicolas Sarkozy (France), Gordon Brown, (UK), Stephen Harper (Canada) and Luiz Inacio Lula da Silva (Brazil) join President Obama in the ranks.
We just put up 50 copies of Beautiful/Decay Book:1 Supernaturalism on our online shop. We have a limited supply of these available for our shop so if you didn’t subscribe this will be one of the only ways to get the book. Enjoy!
“Compassion,” Arabic calligraphy, Issé – France (2014).
In a stunning series of images that blend photography, calligraphy, and performance art, Nantes-based artist Julien Breton (aka Kaalam) uses light and dance to “paint” beautiful and fleeting characters into the air. Inspired by a combination of Latin and Arabic writing styles, each piece is captured on long-exposure film while the artist creates his inscriptions using colored lamps and careful, intention-filled movements. As a living, artistic response to the environment, the designs are matched in compositional harmony to the surrounding backdrop, be it an underpass in New York, an abandoned building in France, or a magnificent hall in India. Each performance lasts several minutes and is then transformed into a single frame, transcending the boundaries of time and our perception of light.
On his biography page, Breton is quoted as explaining his choice of medium, which is rooted in a synchrony of bodily and spiritual practice: “a white sheet is too limiting. To paint on a canvas, however large, means in any case a limit within which I do not feel myself free to express my whole being. Only light is really infinite. The only limit is the air” (Source). Exploring infinitude, Breton’s images demonstrate the seemingly contradictory nature of light; it is bright and endless, yet also fleeting and enveloped by darkness. Both presence and absence are at play in the photographs; the artist disappears while his physical, expressive “trace” (the writing) remains behind. In these pieces, subjectivity and self-expression become greater, geometric portraits of universal energies.
Originally from South Korea, artist Stella Im Hultberg has lived and worked in Hong Kong, Taiwan, and California. After studying industrial design, she worked as a designer of toys, among other products, for several years. In 2005, Hultberg turned her attentions to painting and began practicing her craft more extensively. Since making this transition, her works in ink, oils, and watercolor have been shown at galleries throughout the country. Most recently, the artist contributed a piece to Copro Gallery‘s group show celebrating the 20th anniversary of David Lynch’s “Twin Peaks.” You can catch the show in Santa Monica, CA now through May 12th.
There will always be something magical about photo-realism, and UK artist Tom French adds just enough abstract brushwork to keep it interesting. The wildness of some of his mark making gives his pieces a real feeling of movement specific to the subject matter; the angry, chaotic bucking of a bull or the seeming tranquility of a boy slipping through space.