Cedric Vella shows us what happens when your Facebook page comes to life to perform in the biggest and baddest musical collaboration between you and your 1,000 closest friends. Watch the full video after the jump!
The work of Nicola Samori depicts dying corpses and mysterious portraits scraped, scratched and torn on the surface, unveiling layers of contrasting paint. Dark and intense paintings, covering layers of existing work, like flesh covering the accumulation of past experiences and traumas. The artist chooses to damage his previous paintings on purpose. He feeds the canvas, daily; until the texture becomes ’intense and palpable’. Using his fingers or a knife to destroy the apparent layer, the result of what feels like a painful process is a magnificent harmonized agony. By scraping his paintings, Nicola Samori tries to search for true identity. A person’s face on a painting is not a valid representation of who this person really is. It doesn’t give a true essence of its inner personality and soul. Exploring what’s underneath the surface is the purpose of the artist.
Body, death and painting are, for Nicola Samori, subjects of obsession. By punishing the three altogether on the canvas, he opens the wound and sets himself free. His layered macabre creations are the structure for his catharsis (act or process of releasing a strong emotion into an art form or any extreme change in emotion that results in renewal and restoration).
Apart from the fact that the artist doesn’t fancy working with colors, according to him; the source of darkness does not reflect a state or a belonging; what is made from it is what’s interesting. A rough process symbolizing metamorphosis of deep emotions into meaningful and empowering art pieces
Artist Brian Adam Douglas makes use of a unique process. Before exhibiting at galleries, Douglas began his practice on the streets of Brooklyn under the name ELBOW-TOE. His distinctive style was easily spotted as he used wood cuts, charcoal, collages, and stencils throughout New York City. Douglas has since further developed his process, style, and subject matter. He has retained his painterly style that could be found in his street art and paintings. However, Douglas now applies this to a special kind of cut paper art or collage work. In fact, he prefers to call it “paper painting”. Douglas paints individual parts of paper precise colors and carefully cuts them. All of these small pieces are then often adhered to a wood panel to create one painting-like composition. While he has often focused on individual people, Douglas has now ‘zoomed out’ in a sense. His work now often encompasses entire landscapes or scenes. These scenes frequently touch on natural disaster and specifically the way people cope with them. The statement of his current exhibit at Andrew Edlin Gallery further describes this style:
“Virtually all of the works in Douglas’ new series deal with the rebuilding of life and purpose in the wake of catastrophic deconstruction brought on by natural disasters and climate change(including overt references to Hurricanes Katrina and Sandy). They are not merely about the breaking down of things but about an innate capacity to cope with disaster and the rehabilitation of purpose. Spending up to half a year on a single piece, Douglas’ laborious process demands a pictorial integrity where nothing is wasted and everything serves his intensity of purpose. Forgoing the relative ease and fluidity of the brush stroke, the artist methodically builds his compositions through shards of color incised from sheets of paper he has painted, forging a novel way to combine painting and collage into a singular hybrid.”
Haunting and provocative, “Ghosts” South African artist Ralph Ziman’s recent photography exhibition addresses the international arms trade. The series features 200 beaded gun and ammunition sculptures created by 6 Zimbabwean artisans who were commissioned by Ziman. The sculptures are made from traditional African beads and wire and are replicas of AK-47s and general purpose machine guns (GPMGs). The artists are also the subjects of Ziman’s photographs, alongside some construction workers, and a member of the South African Police Services who just wanted his picture taken. The idea for the project began as a series of murals in Venice that were a response to the international arms trade and Africa. The result is a powerful representation of the intimate relationship between Africa and arms trading.
“In bringing his exhibit to the US, ‘the world’s biggest arms exporter,’ Ziman goes some way to redirecting the one directional flow of the arms trade, inviting viewers to consider the original source of the guns on display.” “Ghosts” features the gun sculptures, installations, and photographs, and is on display from February 8 through March 2 at C.A.V.E. Gallery in Los Angeles. (via hi fructose and okay africa)
Cara Phillips got the idea for her Ultraviolet Beauty series from the beauty industry. Medical spas and dermatologists use the same ultraviolet light that she did, with a very different effect. The ultraviolet shows every imperfection of your skin not visible to the naked eye, and dermatologists use it to show you a glimpse into the ‘future’ of your skin. In reality, there is no way to know how many of the blemishes will surface, but it’s an effective scare tactic, and apparently ensures the sale of cosmetic products to ‘prevent’ the catastrophe that is imperfect skin.
Phillips’ focus was to use the same ultraviolet technology, but with a different outcome. She took portraits of people on the street in New York, offering them for free to anyone willing to sit (it’s unclear if they had to pay to have a print, so free might be a liberal term here). She encouraged them to close their eyes to soften their expression. The images are beautiful, and you can’t imagine that someone could look at themselves portrayed in this style and feel alarmed by the look of their skin. Phillips’ photographs are taken in black and white large format, presumably not the technology a medical spa would employ, but the original images taken by the skin professionals are in black and white, so Phillips’ photos are not far from the truth. (Via MTL Blog)
Everyone is looking for their 15 minutes of fame. We throw caution to the wind, risk our financial stability, and in the case of Ani K from Kerala, India even put our health at risk in the pursuit of artistic fame and glory. Ani K paints with his tongue. He must paint with water based paints right? Wrong! Mr. K had the brilliant idea to paint with oil paint using his tongue after he was inspired by an artist who painted with his foot. At first Ani tried using his nose but soon discovered that someone had beat him to the punch. So out with the nose and in with the tongue. “I thought of giving my tongue a try and succeeded,” he says. “Many newspapers reported it. I got a good response. Then, I made it a regular practice.”
Now I can’t tell you how dangerous and deadly it is to paint with oils with your tongue and I’m guessing Ani K didn’t read The Artist’s Handbook of Materials And Techniques. Do not try this at home folks. This will cause severe brain and nerve damage and will make you die. Unfortunately Ani K doesn’t seem to care since he’s getting lots of attention in the press. Just goes to show how desperate we all are to feel a few moments of appreciation and success. (via oddity central)
Is that an amazing relief print I spy? I do believe it is!! Dennis McNett puts his impressive carving ability to work, making striking woodblock prints that tend to include mythical animal imagery. McNett, who teaches printmaking at the Pratt Institute in New York, has also designed killer graphics for Vans, Anti-Hero skateboards, Volcom and Adidas, so you could say that he’s got the serious skills to pay the bills.