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Mildred & Pacolli

I recently stumbled upon this seriously amazing artist duo, Mildred & Pacolli.  Their work is AWESOME!  I love it. They recently had an exhibition at the Lower Haters gallery in San Francisco called WE ARE US.  You should check out some of their work!

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Takeuchi Taijin for Olympus

A while back, we posted Takeuchi Taijin’s amazing Wolf & Pig stop motion animation. His latest clip for Olympus PEN Giant follows a young man navigating an urban city-scape in a similar stop-motion journey through 355 stunning photographs printed billboard size! No tricks or computer animation…just good old fashioned hard work. Check it out!

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Yasumasa Morimura

Look, This is in Fashion!

'Look, This is in Fashion!'

I’m pretty obsessed with Yasumasa Morimura’s surrealist, hallucinogenic photography. Half acid trip, half anime, pure eccentricity. Macabre hilarity, grand hallucinations. And witty titles that complement the imagery in strange and abstract ways. 


New Beautiful/Decay Book Release- The Seven Deadly Sins

Beautiful/Decay is pleased to release Book 9: The Seven Deadly Sins!

Lust, Gluttony, Greed, Sloth, Wrath, Pride, and Envy have been explored—and challenged—for centuries by artists, scholars, and writers. In this issue of Beautiful/Decay, you’ll find artists who explore these themes through a contemporary lens, either by explicitly calling out those deemed guilty of committing one of the Seven Deadly Sins, or by turning the sweeping notion of sin right on its head.

James Gobel tackles Pride through felt portraits of colorfully clad, sexually charged, plus-size bears, and continuing the exploration of Lust, we have the raw and lascivious Polaroids of Jeremy Kost. View Tom Littleson’s bloody portraiture drawings and their relationship with Wrath. See how cover artists Tim Noble & Sue Webster’s adept use of personified garbage channels Gluttony. Libby Black’s paint-and-paper sculptures replicate Envy-inducing luxury brand goods, while paintings and drawings from Brendan Danielsson address the social and physical epidemic of Sloth. Finally, Greed lies at the center of Ghost of a Dream’s hypnotic sculptural art and immersive installations. We’ve also invited international artists, illustrators, and designers to create original pieces for our Project Pages based on all seven sins.

Other featured artists: Carolyn Janssen, Okay Mountain, Colette Robbins, Cleon Peterson, Micah Ganske, Zoe Charlton, Penelope Gottlieb, Paul Mullins, Keith Puccinelli, Travis Somerville, Kara Maria, Aideen Barry, Travis Collinson, Geoffrey Chasedy, John Knuth.

Each copy of Beautiful/Decay: The Seven Deadly Sins comes blind packed with either a zine by Terence Hannum or Heather Benjamin or a limited edition silk screen print by Paul Nudd!


Evan Penny’s Hyperrealistic And Distorted Human Sculptures Explore Time And Self-Perception

Evan Penny - Sculpture

“Self” (2008).

Evan Penny - Sculpture

“Large Murray” (with Murray) (2008).

Evan Penny - Sculpture

“Young Self, Variation #1” (2011).

Evan Penny - Sculpture

“Old Self, Variation #1” (2010).

Evan Penny is a Toronto-based (South African-born) artist who makes human sculptures out of silicone, resin, hair, and pigment. In many ways, his works — especially those he produced in the 1980s (see “Jim”) — are hyperrealistic, with detailed skin textures and lifelike body postures and facial expressions. However, throughout the 1990s and into the 2000s, Penny began to experiment with abstraction, manipulating human proportions and forms to create flattened, stretched, and warped bodies that resemble optical illusions, troubling the perceptual line between digital manipulation and animated flesh. In his more recent works, Penny has implemented computer technologies to scan, distort, and re-scale the figure, which he then recreates by hand.

Two interrelated themes that Penny interrogates in his work include the passage of time and the ever-changing nature of self-perception. As he explores in his works “Young Self” and “Old Self,” for example, self-representation — indeed, identity — is a construction that is never stable; “time, memory, and desire” influence the way we appear and project ourselves to others (and ourselves) (Source). Penny’s work also explores the implications of image manipulation in the digital age, when photo editing and digital reality give us new means of constructing our self-representations, and indeed, evading the naturally-occurring inconsistencies of our real-life identities. As he stated in an interview with Canadian Art:

“With the digital, how we imagine ourselves in time has changed again. We’re starting to comprehend ourselves quite differently, and I’m not sure we fully understand how that is affecting us” (Source).

Despite the seemingly playful aspects of Penny’s sculptures, some of his artistic investigations are tinged with sadness as they grapple with the passage of time. “Jim Revisited” (2011), for example, is a recreation of his sculpture “Jim,” which was made in 1985, when his figures were still largely realistic. Jim was a friend of Penny’s who had passed away several years ago. What Penny seems to be achieving in the dialogue between these two works is a series of overlapping personal and artistic reassessments: an examination of the way time distorts memory, as well as how his own artistic practice — infused with years of experience and shifting emotions and new perspectives — has changed. You can read more about Penny’s thoughts on “Jim Revisited” here. Visit Penny’s website to see more of his work.

Monica Rohan Paints Self-Portraits Being Swallowed Up By A Beautiful Vortex Of Patterned Fabric


Monica Rohan paints realistic self-portraits where she is covered, buried, and engulfed in fabric. Although we see the artist portrayed in many different setting in her paintings, we can never see her face. Each of her subjects, all being representations of herself, hide their face in the mass of textiles. Rohan beautifully depicts different types of fabric, vivid in color and pattern. She is a master at bringing to life vibrant hues on different thread. Sometimes, there is no fabric in her paintings, but instead a sheet of grass or a plethora of flowers that stretch over the figure. Each sheet or quilt wraps around the figures, surrounding them as it moves across the composition. Although Rohan’s work appears lighthearted and playful at first, with frolicking and mischievous women, there is a level of anxiety present in her work. Each figures seems to be frantically attempting to hide their identity, almost desperately trying to hide. Mountains of patched fabric and colorful silk are swallowing up the artist’s likeness, sometimes consuming two figures at a time.

Monica Rohan, originally from Australia, is inspired by her upbringing in the remote countryside of Queensland. A sense of isolation can be felt in her paintings, as the only person present in her work is the artist herself. You can feel the artist’s emotions about to burst out of the many folds of the fabric as they create a powerful vortex of movement around her own self. (via Hi-Fructose)

Hernan Paganini


Hernan Paganini is a graphic designer/interior designer from Buenos Aires, Argentina. As a child, Paganini would collect objects he randomly found on the streets. As time went by, those objects became the inspiration for most of his work. He now teaches at the Public University of Buenos Aires, where he also graduated from.