Antoine Caecke is a French artist whose delightfully stark drawings look like the visual log of an obsessed archaeologist. Bones and other objects are lined up, encased, and shelved for the viewer to dissect. The work comes across as a more abstract form of 19th-century zoological and scientific specimen drawings. Caecke’s artwork serves as a reminder of the cycle of articles left behind, discovered, studied, and cherished throughout history.
Artist Josefina Concha, with the aid of a sewing machine in lieu of a brush, weaves her work into being. Full of texture and threaded messy shapes of color, her stitching fascinatingly harkens back to Mark Tobey’s thoughts on abstract expressionism: “A painting should be a textile, a texture. That’s enough! Perhaps I was influenced by my mother. She used to sew and sew. I can still see that needle going. Maybe that’s what I’d rather do than anything with the brush-like stitching over and over and over, laying it in, going over, bringing it up. Bringing it up. That’s what is difficult.”
However, of her own approach, Concha strives not just to simulate, but replace painting with crafting techniques, a medium formerly equated primarily with domestic labor. She explains, “The building of my work is articulated through the investment of a material (the thread) on a piece of cloth, and the time dedicated to sew it. This is made visible in the superimposition of weaves that in short will generate a thickness (body) and a sensation of volume, dominated by the treatment of color and optical mixtures, to which I turn to with the eagerness of creating suggestive images that appeal to the ephemeral.”
What you’re looking at isn’t an abstract painting or a layered digital image. It’s a series of brilliant photographs created by Tatiana Gulenkina using long exposures of light on contact paper in the darkroom. The result is a rich image full of texture, layers, and ambiguous mystery that captures the movement of light.
Beautiful and mysterious drawings by illustrator JeanPaul Mallozzi.
Scotland born photographer Nikki Toole is traveling around the world until 2012, gathering imagery for a book project documenting global skater cultures. Besides the fact that Nikki knows how to handle a camera and take a stunning image (in my opinion, anyway), there’s a bareness in this series of photographs which makes me feel as though these people are staring directly at me, and me alone. Now based in Melbourne, Australia, Nikki is open to hearing from potential subjects who wish to volunteer themselves for the project. Nikki also has many previous collections well worth checking out.
Sage Sohier spent three years at a facial nerve clinic, photographing people in the beginning stages of treatment of facial paralysis for her series “About Face.” The portraits of men, women, and children of all ages and ethnicities with varied causes and visible extents of paralysis are striking. Looking directly into the camera, directly at the viewer, the patients smile.
Most people I photograph are acutely aware of their imperfections and try to minimize them. Some have confided in me that, in their attempt to look more normal, they strive for impassivity and repress their smiles. They worry that this effort is altering who they are emotionally and affecting how other people respond to them.
In our image obsessed society, facial oddities can be difficult to live with. When we see images of celebrities with shaved noses and plumped lips, carving and injecting their way to plastic perfection, having a face twisted and pulled by nerve damage seems unthinkable. In an absurd twist, some of the patients are treated with Botox, which is a medical treatment as well as a cosmetic one. The strength of character it takes to allow a portrait when one’s face is so far from “the ideal” is astounding. The pictures that include loved ones show them touching, kissing, and connecting, illustrating how appearance doesn’t matter, that they person they love is still there.
As a visual artist, I find myself fascinated by the intensity of glimpsing two expressions simultaneously, a literal “two-facedness” that mesmerizes by its terrible beauty. At the same time, I hope these pictures bear witness to the incredible courage required to deal with medical afflictions, especially when they affect one’s primary appearance. Even minor facial problems challenge and potentially diminish a person’s sense of self; the poise and inner strength that it takes to deal with this, while at the same time presenting oneself to the world, is remarkable.
It’s important that images like these are taken, and even more that they are seen. These people have a medical condition, reversible to differing degrees, that makes them look different than what we expect. And this is what humanity is composed of—people who look like themselves at any given point in their lives. (via Design Taxi)
Between train cars and mopeds, and over the course of thousands of miles, Pat Perry slowly realizes his dream of busting outside the confines of the mundane. All too often that monotony can squelch creative impulses, but this intrepid illustrator is pretty determined to avoid that at all cost. After getting in touch with Pat over email, we exchanged a few wayward text messages and in the end, missed each other in Chicago. It was between stops on this summer expedition of his, that he was able to answer some questions about the nature of his incredibly detailed work.
In a modern art era where so much is done digitally, Pat’s calculated and surreal illustrations bend back the paradigm by once again elevating the work elaborated by a traveler’s hands. His illustrations feels perfectly proportioned, almost as if in motion. Less reliance on symmetry and more focus on flow. There’s an energy about the continuity and vibrance of his images, whether the color scheme is brilliant or tempered, and his ability to satisfy a breadth of clients while still solidifying his fine art itch is admirable. Pat is dedicated to staying on his creative toes, which only means good news for those of us who know he’s on to something.
Synckop doesn’t design your average rock posters, instead he mixes classic typography with surreal imagery to create timeless avant-garde rock graphics that will have impact for generations to come.