Carne Griffith’s fluid and layered drawings are made by combining a layered mixture of calligraphy ink, graphite and liquids such as brandy, vodka, and whiskey. Using the alcohol as an agent to move the ink around the page Carne creates imagery that explores both figurative and floral motifs which move from representation to abstraction in the same stroke of the pen.
Teodora Axente is associated with the Cluj School, a group of Romanian artists making work after the 1989 Revolution, which ended Nicolae Ceausescu’s communist regime.
There is a dark sense of carousing in her work which examines the question of boredom in a secular world. Left to his or her own devices, Axente’s adult figures conjure up spirits or flights of whimsy in seemingly childlike ways, often seeking solace in shiny and tactile objects such as tinfoil, plastic wrap, or furs. However, translated to a non-secular world, each stroke Axente makes seem satirical or political, consciously examining religion or capitalism.
According to the artist, this dichotomy is the exact intention: “One of my concepts is to transform a real fact into a game . . . It is all about play from my perspective, the playfulness is more than a world of novelty in which everything happens and is reconstituted because of the freedom to act, to think.”
Based out of Sydney Australia, Mitch Beige Brown is a young designer with a stunning portfolio of unusual and playful works under his belt. Ranging from ironic/iconic art direction and collaborations for record sleeves, Mitch’s perspective is a breath of fresh air.
With a display of dominating opulence, feminine vice, and diamond dust, Lauren Gibbes’s paintings masterfully deconstruct traditional romantic narratives and flourish as examples of modern Rococo. Born in the south and currently working out of Ashville, NC, Gibbes draws influence from beauty pageants, magazine ads, exhibitions of decadence, and the legacy of southern charm and chivalry. Her work is both beautiful and confrontational. Lauren Gibbes is represented by Galeria Bickar.
Baptiste Debombourg’s unique approach to medium and spacial presentation includes spending 75 hours pushing staples into a wall to create a “wall painting”, and UV-glueing shards of glass around an urban bus stop, with intention to “provoke some emotion or empathy”. He turns the scenario of each of his installation/sculptures from violent destruction to that of aesthetic appreciation.
Syver Lauritzsen and Eirik Haugen Murvoll set up a paint sculpture that tracks the moods of people in Oslo (where they go to school) through their posts to social media. Each time someone tweets that they are happy, sad, angry, or what have you, a program that Lauritzsen Murvoll created assigns a colour to it. As demonstrated in the video, happy is a pink colour, angriness is black, and a number of other colours are left undefined. Though the project is small in scale, it serves an interesting purpose and leaves a lot of opportunity for further exploration. One imagines what it would look like if there were multiple posts representing different cities. It’s a great way to visualize the information.
Artist Holton Rower, who uses the paint pouring technique to create three-dimensional paintings, inspired the format for Lauritzsen and Murvoll’s project. The men had to go through a few different modes of representation for aesthetic value. They tried having each individual mood tweet release a colour, but also averaged a mood over a period of tweets. According to the artists, latter was more aesthetically appealing because the information was more simple, but the former was evidently a more accurate depiction of how the city was feeling. (Via I Heart My Art and Wired)
Off beat humor is a running theme throughout the sculptures and drawings of Los Angeles artist Amy Sarkisian. In one piece a giant geometric sphere is wearing an equally massive pair of underwear. In another series cheap Ikea furniture is embellished with lavish patterning using inexpensive adhesive vinyl to replicate high end wood inlay. Regardless of image or material, comedy weaves its way in and out of Sarkisian’s imagery both through choice of material and concept.