Two brilliant artists, Amanda Charchian and Jose Romussi, have collaborated and created and incredibly dreamy, breathtaking series. LA based artist Charchian has a very unique style of photography that emphasizes the human body in creative, innovative ways. This combined with Chilean artist Romussi’s technique of embroidery on photograph, brings an entirely new focus on the figure. In their collaboration series, the scene is set in a dramatic black and white, bringing an unearthly white glow to the subjects. A mysterious aura can be seen in each surreal image, with both figures embodying a ghostly feel. One aspect of this series that is so intriguing is the choice in wardrobe and makeup. The subjects both sport little to no clothing, but what little they do have on is somewhat theatrical and reminiscent to a different era. The makeup is equally dramatic, with each figure having stark white or jet-black eyebrows, with black, heart shaped lips. Each scene mystifies the viewer while intriguing them into the next situation.
Both artists’ indistinguishable style shows through in this captivating, collaborative series. Charchian’s interesting use of aesthetically pleasing positions of the body still ring true, while Romussi’s embroidery adds a whole new element that skews your way of seeing. This hazy, ethereal series often displays a duality of bodies that is reminiscent to the internal and external self. Prints of this stunning series are available for purchase on her website. Make sure to follow her Instagram for more amazing photography.
The group Art Against Cuts busted into a recent Sothebys while a Warhol piece was being auctioned with a large banner reading “Orgy Of The Rich” and throwing fake money into the air. the group states that they are “fighting back against the most significant governmental attack on the public sector in living memory. In the arts we are anticipating feeling the full weight of this socially irresponsible policy, especially in terms of funding for arts education. We are in solidarity with the other sectors fighting against the cuts and openly welcome co-ordinated action in creative and innovative ways.”
I think my favorite part about this performance was that so many of the wealthy in the room were actually enjoying the protest and taking photos with their phones. Guess it’s just another great story to tell while out on the yacht over the weekend. Watch the full video after the jump.
I’m loving these beautiful miniature maquets by German artist Jens Reinert. My favorite pieces are his Tunnel pieces (pictured above). They remind me of my youth, when I would spend hours hanging out in tunnels and storm drains painting graffiti and generally being up to no good.
Los Angeles artist Arturo Oliva Pedroza produces the kind of photography I love. That grainy, seemingly accidental snap shot that you can’t stop staring at. Pedroza’s genius lies in capturing these quiet, easily overlooked moments of beauty that smack you in the face with their simplicity and honesty. Picking up a pizza on that cold walk home from the bar can be magic–if you let it be.
We first posted the work of Haroshi back in 2010 but we couldn’t resist giving you an update of this artists incredible sculptures created out of used skateboard decks. His creations are born through styles such as wooden mosaic, dots, and pixels; where each element, either cut out in different shapes or kept in their original form, are connected in different styles, and shaven into the form of the final art piece. Haroshi became infatuated with skateboarding in his early teens, and is still a passionate skater at present. He knows thoroughly all the parts of the skateboard deck, such as the shape, concave, truck, and wheels. He often feels attached to trucks with the shaft visible, goes around picking up and collecting broken skateboard parts, and feels reluctant to throw away crashed skateboards. It’s only natural that he began to make art pieces (i.e. recycling) by using skateboards. To Haroshi, his art pieces are equal to his skateboards, and that means they are his life itself. They’re his communication tool with both himself, and the outside world.
The most important style of Haroshi’s three-dimensional art piece is the wooden mosaic. In order to make a sculpture out of a thin skateboard deck, one must stack many layers. But skate decks are already processed products, and not flat like a piece of wood freshly cut out from a tree. Moreover, skateboards may seem like they’re all in the same shape, but actually, their structure varies according to the factory, brand, and popular skaters’ signature models. With his experience and almost crazy knowledge of skateboards, Haroshi is able to differentiate from thousands of used deck stocks, which deck fits with which when stacked. After the decks are chosen and stacked, they are cut, shaven, and polished with his favorite tools. By coincidence, this creative style of his is similar to the way traditional wooden Japanese Great Buddhas are built. 90% of Buddha statues in Japan are carved from wood, and built using the method of wooden mosaic; in order to save expense of materials, and also to minimize the weight of the statue. So this also goes hand in hand with Haroshi’s style of using skateboards as a means of recycling. Also, although one is not able to see from outside, there is a certain metal object that is buried inside his three-dimensional statue. The object is a broken skateboard part that was chosen from his collection of parts that became deteriorated and broke off from skateboards, or got damaged from a failed Big Make attempt. To Haroshi, to set this kind of metal part inside his art piece means to “give soul” to the statue. “Unkei,” a Japanese sculptor of Buddhas who was active in the 12th Century, whose works are most popular even today among the Japanese people; used to set a crystal ball called “Shin-Gachi-Rin (Heart Moon Circle)” in the position of the Buddha’s heart. This would become the soul of the statue. So the fact that Haroshi takes the same steps in his creation may be a natural reflection of his spirit and aesthetic as a Japanese.
The future predicts a change in the definition of gender as we know it. The new work of Can Pekmedir, a Turkish artist, could not fall at a better time. In his series “Bone Structure” he is examining how the human face would look like with distorted features and a seamless flesh.The result is intriguing and repulsive. The flesh and individual hair seen so close creates a feeling of discomfort. He manipulates photographs using an algorithm and three dimensional technology. Through 3D, the viewer has the freedom to examine the visuals, whereas when it’s in 2D, he is following the artist’s point of view.
Coincidence and failed experiences are at the premise of these artistic discoveries. Can Pekmedir is instinctively morphing recognizable body shapes to get harmony. “My studies are focused on reconstructing and deforming bodies by altering the physical conditions in which the entity exists and/or treating them as test subjects for virtual experiments”.
If these creatures are perceived as mutants, then in no time we can imagine being close to sci-fi and fantastic inhabitants populating the earth. The artist isn’t telling us a story, he is delivering a brutal reality of his artistic vision. We have the liberty to accept or reject it, but the fact that a change is yet to come in the way the human race will evolve is a crucial point to investigate. (via designfaves)
Zach Hyman’s photographs are concerned with the idea of bodies and boundaries and the spaces they occupy. Often, the bodies he captures are nude and placed in an environment that illuminates the boundaries of nature and culture. Something wonderfully vulnerable is evoked by the placement of these bodies. His subjects, though placed in settings seemingly incongruent with the exposition of their bodies, appear naturally comfortable. The way he captures light and contextualizes these bodies lend his work a universal quality that is at once identifiable and particular.
Petros Chrisostomou, a New York based photographer, plays with scale, mass-produced and ephemeral objects, and hand-crafted mini architectural models in order to challenge the viewer’s visual certainties, and visual signifiers of contemporary mass culture.
The multi-faceted works resemble lively assemblages of what seem to be large-scaled mundane objects in exaggerated interiors – some resembling wreckage, and others referencing the extravagance of a Rococo palace.
Christosomou’s photographs become the field for mixing the high- and the low-brow, mass culture and genre painting, the luxurious and the expendable, as indications of social class distinctions. At the same time, the relations between the real and the imaginary in his oeuvre are a commentary on the mediated images of contemporary mass media that distort the natural and immediate dimension of our relation to reality, determining, among other things, the conditions for viewing and receiving art.
The relevance of this body of work does not completely rely on its technical complexities, and cultural commentary, but also in its visual power. We know that the artist is not fabricating monumental sculptures resembling stiletto shoes, instead he is fabricating small-scaled architectural spaces- that play out with the objects, making them look bigger than they seem. It is important to notice, as curator Tina Pandi points out that “the alteration of scale and reversal of the relation between object and environment, between imaginary and real space.”