The Singapore-based artist Ivan Hoo creates astounding photorealistic drawings on simple wooden boards; his expert technique cleverly mimics three-dimensionality, tricking the viewer into mistaking pencil-drawn lines and pastel shading with real-life objects. The content of Hoo’s still lifes is often a domestic accident: a spilled wine glass, a broken vase, a cracked egg. The artistic marriage of the seemingly mundane content with the masterly craftsmanship results in an uncanny examination of the everyday, finding radiance and beauty within the routine.
In a household, Hoo’s vivid scenes might inspire slight anxiety or irritation; in one image, a Coke can topples over, drenching the wooden board, which takes the place of a fine wood table. But because these moments of spillage are fictional, and because they require effort in the place of negligence, they elicit marveling admiration. Because these “accidents” require a paradoxical foresight and meticulous attention to detail,, the annoyance of mess is transformed into a celebration of line and color.
Throughout Hoo’s body of work is a consistent element of surprise and delight. A cat pokes his head through an illustrated hole in the wood, transforming the simple plank into a fence, and a seemingly blank wood canvas is shown to be covered in tiny, precisely-rendered water droplets. In photographs of the work, the headphones he wears persistently fall onto his canvas, initially integrating effortlessly into the photorealistic image, blurring the lines between accident and intention, between artist and art piece. Take a look. (via Lost at E Minor)
Jake Chapman was born in Cheltenham and Dinos Chapman in London. Their father was a British art teacher and their mother an orthodox Greek Cypriot. They were brought up in Cheltenham but moved to Hastings where they attended a local comprehensive before attending the University of East London‘s Art college – then atGreengate House, Plaistow – and then enrolling at The Royal College of Art, when they worked as assistants to the artists Gilbert and George. They began their own collaboration in 1992. The brothers have often made pieces with plastic models or fibreglassmannequins of people. An early piece consisted of eighty-three scenes oftorture and disfigurement similar to those recorded by Francisco Goya in his series of etchings, Disasters of War (a work they later returned to) rendered into small three-dimensional plastic models. One of these was later turned into a life-size work, Great Deeds Against the Dead, shown along with Zygotic Acceleration, Biogenetic, De-Sublimated Libidinal Model (Enlarged x 1000) at the Sensation exhibition in 1997.
Rose-Lynn Fisher – whose anatomical bee photographs we have previously featured – has recently completed a series of images she calls “The Topography of Tears” that represent a study of 100 types of tears photographed through a microscope. During a difficult time that yielded a copious amount of tears, Fisher began to wonder if her grief tears looked the same as onion tears when viewed under a microscope. Using her own and others’ tears, Fisher was able to create a varied landscape of tear structures, demonstrating the diversity to be found within tear types. Fisher’s images almost resemble aerial views, these tear structures fractally resonating with larger scale structures found in the world.
Fisher says, “Tears are the medium of our most primal language in moments as unrelenting as death, as basic as hunger, and as complex as a rite of passage. They are the evidence of our inner life overflowing its boundaries, spilling over into consciousness. Wordless and spontaneous, they release us to the possibility of realignment, reunion, catharsis: shedding tears, shedding old skin. It’s as though each one of our tears carries a microcosm of the collective human experience, like one drop of an ocean.” (via smithsonian mag)
Levi Van Veluw’s eerie Origin Of The Beginning installation draws from his own childhood memories to thematically and narratively develop his own brand of self-portraiture. Creating 3 “rooms” covered with more than 30,000 wooden blocks, balls and slats the spaces feel both like wooden prison cells and as metaphosr for the artists darkest memories. Watch a video of the installation after the jump.
Venice, Italy-based artist/illustrator Jacopo Rosati does these felt collage illustrations that are really cool. Rosati, whose clients include -among others- Wired Magazine, The Wall Street Journal, and Geico, has a nice sense of color. Each piece really pops and the felt adds a unique texture to his work. The images are so subtle, but they communicate everything they need to through the artist’s clever, economical character design. The superhero piece (above) is especially great. (via)
New York based Korean artist, Do Ho Suh, creates beautifully detailed installations where he constantly has us question the identity of the individual in modern day society. Those of you who live here in Los Angeles, might have seen a few of his sculptures at LACMA where he worked with the idea of the clashing of culture and identity most Korean-Americans face by crashing a traditional Korean house into a modern day American house. Inside, traditional Korean furniture spilling into various rooms of the American house, all mixing into one chaotic mess. I have always genuinely enjoyed the way Do Ho Suh communicates his concepts, and his painfully close attention to detail.
As a kid I collected miniatures. I would go away with my parents and wherever we traveled there seemed to be a store that sold tiny objects. Back then they were mostly for dollhouses but I acquired these curiosities so I could display them on my desk. I thought it was cool that someone could actually make something that small. I remember some of the items in my collection included miniature coca cola bottles, tiny animals (mainly cats) and food such as jelly apples and cakes.
With a similar thought in mind Japanese artist Tomo Tanaka creates high-end miniatures. Using clay and epoxy he constructs tiny masterpieces of mostly Parisian cuisine displaying the utmost detail. Tanaka’s creations are so mini that for documentation purposes he photographs them on his fingertips to give the viewer an idea of size. This however does not infringe on the detail involved. It’s remarkable that at such small scale they are painfully and accurately crafted to the tiniest fold and extremely appetizing. He presents a collection of eatables and household products under the moniker Nunu’s house. Within that framework he creates food spreads which would make any caterer proud in the realistic way they are rendered and displayed.
Tanaka is unique because he excels at a definitive craft which overflows into the area of fine art. He has published two books and teaches courses on the subject. (via spoon-tamago)
I Don't Believe In Anything But This Is Transcendent
Drew Beckmeyer creates quirky paintings that fuse visuals from different times and spaces, often pairing unexpected scenes with seemingly personal and historical references. They are both charming and mysterious works that teeter between whimsical and ominous. Beautiul/Decay recently interviewed Drew regarding his process, and even took a sneak peak at his studio behind the scenes.