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Ginette Lapalme

Ginette Lapalme makes awesome illustration work about animals, animals loving animals, animal loving humans, and humans that remind me of animals.

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Emma Löfström

Emma Löfström is a Swedish illustrator and artist whose work is eerie, narrative and has an otherworldly depth. Each of her pieces has this air of mystery behind it with subjects ranging from nature to magic to surrealistic creatures. Some of her works seem like a storybook which I for one would be enamored to get my hands on. 

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Tommy Reynolds


Some incredibly and bizarrely detailed photography by Tommy Reynolds. These photographs are able to get across reynolds’ concept, but are still seemingly candid. Personally I enjoy how these photos highlight the beauty behind a mess. 


Chris Labrooy’s playful 3D illustrations

I’m absolutely loving the 3D illustrations of Chris Labrooy with their dynamic sense of color, composition, and playful humor. If that’s not enough Labrooy also has a brilliant eye for typography, creating custom typefaces out of everything from people to architecture. (via)

Family Photograph Geometric Collages From Randy Grskovic

Randy Grskovic rearranges family photographs.  He slices found photographs into geometric abstractions.  What were once cherished images of memories are now emptied of their sentimental meaning.  Grskovic’s collages draw attention to the process of photographing ourselves – making images of ourselves for posterity.  While photographs are often considered true and trusted documents of past events, Grskovic’s work encourages viewers to be skeptical of the idea of their objective nature.  He says:

“The memory has changed and so has the document. The photograph as well as any other document is never an accurate depiction of truth.” [via]

Johnny Abrahams’ Maze Paintings

Johnny Abrahams‘ lives and works in New York. His latest body of work consists of painstakingly painted op-art pieces. Working exclusively in black and white these large patterns are absolutely disorienting. Once the viewers eyes become accustomed to each piece, elaborate mazes dazzle the senses. “Johnny Abrahams’ panel paintings are made up of various relationships between pattern, shape, and composition, using only a single width of band in either black or white acrylic paint. A pattern is chosen for its impact on perception. Line is perceived where no line exists, and shape suggested by the termination of many “lines” along an implied edge. Light is broken into its constituent colors, which move in opposition across the surface. Approaching a work, a design may appear subtly constructed of two tones or tone gradations; passed a threshold, these reduced elements become vibratory, destabilizing the fixed gaze of the eye.

The creative impulse has no causal agency in the outcome of a work. Rather, Abrahams keeps to a disciplined process of ruled and restricted composition within the space of a panel. An experienced tabla player, Abrahams’ exercise in mental and rhythmic concentration here manifests in a personal practice. In turn, viewer perception mirrors process, with the natural pulsing of one’s own vision working as a player in the optical effect.”

Floto+Warner Turn Brightly Colored Liquids Into “Floating Sculptural Events”

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Jeremy Floto and Cassandra Warner of New York-based photography studio Floto+Warner have created a fascinating series of photographs of colored liquids thrown into open landscapes. Titled “Colourant,” the series emerges out of the artists’ ongoing interest in vast environments, as well as the relationships between place, figure, and form. The images feature colored, environmentally-friendly water mixtures floating in the air like alien clouds or frozen waves. There is a palpable tension between motion and stillness, created by the clash between the rapid event and the peaceful backdrop of the Nevada desert. Incredibly, no Photoshop was used in the creation of this series. In a statement provided to Beautiful/Decay, Floto and Warner shared their method:

“We shoot with a high-speed shutter to freeze the action of the throw. Typically, our shutter was around 3200th of a second. Each photograph is set in the open landscape. We don’t stick to the rules of traditional landscape photography in this series. We choose instead to shoot under the harsh midday sun to amplify the adverse feeling of the scene. We use hard lighting and prefer atmospheric space to allow the sculptures space to breathe. For the preparation, we mix a small amount of non-toxic color by hand with a gallon of water and then literally throw it into the air.”

With their bright colors and dramatic forms, the “Colourant” images do an excellent job seizing our curiosity and attention. Floto and Warner call them “floating sculptural events,” or “short-lived anomalies that pass you by at an imperceptible flash.” Not only do they visually defy categories of “liquid” and “solid” matter, but they trouble the line between transience and eternity; captured by the camera, the airborne splashes seem as though they could exist forever, embedded in the landscape. “Colourant” also unveils our perceptual limitations, as such chaotic and beautiful forms cannot be seen without the intervention of technology; just as we cannot fully perceive the fleeting details of waves crashing onto the shore, Floto+Warner’s series remind us that there is more to nature and reality than meets the eye.

As exploratory images, “Colourant” will likely foster a variety of inspiring (and potentially conflicting) interpretations. When asked about how they viewed the series, Floto and Warner explained:

“We see this series as representing a clash between man and nature, [as] giant blobs taking over and obstructing the landscape. That said, we also feel they are quite ambiguous and let people enjoy them as if looking at clouds. Typically, when people see them, they react with a moment of joy, elation, or wonder (which we are happy with), but then there are a lot of people that see the stain. We love the duality of the image.”

Check out Floto+Warner’s website to see more of their works, including “Fume” (2009), the thematic precursor to “Colourant.” Be sure to follow their work and see what creative explorations of various landscapes they dream up next. (Via Honestly WTF)

Kimberly Brooks At Taylor De Cordoba

In her latest body of work, Kimberly Brooks continues to explore portraiture, specifically the complexities of representations of female identities. While in her previous series, including Mom’s Friends (2007) and The Stylist Project (2010), the artist used figures to construct narratives, here the female form is part of a broader abstracted landscape. And while earlier portraits boasted an uncanny likeness to their subjects, Brooks’ style has shifted into something that is simultaneously looser and richer. Facial features have been abstracted and bodies distorted. Fashion and costume, a longtime theme for Brooks, is also deconstructed. Once painstakingly rendered folds and drapes have been reduced to their essential shapes and color fields. In these sumptuous new images, Brooks continues to address questions about how we frame beauty, and the phenomenon of fashion as a both pop culture and artistic touchstone.   Taken as a whole, the new paintings create a meta-narrative that contemplates “threads” that define, unite and separate us across different cultures and eras.\

Make sure to catch Kimberly Brooks’ third solo show currently on view at Taylor De Cordoba through October 22nd.