We interns went exploring/gallery hoppin’ this past week, as the Beautiful/Decay office resides conveniently in the heart of the Culver City Art District.
I was particularly charmed by “Seasonal Change,” a group exhibition which just opened at LeBasse Projects on June 20th. With a line-up featuring the talents of Edwin Ushiro, James Roper, and Tessar Lo, this exhibition just sounded so promising! Some pieces are ethereal with slightly serious undertones; others are blatantly whimsical and playfully riotous, but all seem to be on the brink of something explosive…on the verge of unleashing ear-splitting noise.
“Seasonal Change” runs until mid-July, I believe, so be sure to check it out before then!
The engineering and design studio Bot & Dolly created the video Box. In it a simple flat surface is visually transformed in unbelievable ways. Projection mapping has been especially popular lately because of its extreme versatility among other things. For projection mapping a computer basically maps a surface, one often considered too irregular for traditional projection. The software’s images are then projected on precise locations on the surface. In this way projects can appear to interact with the surface or produce the illusion of depth. For the video Bot & Dolly seem to push the potential of projection mapping. Flat surfaces are attached to large robotics, thus the projection not only interacts with the nontraditional surface but also its movement. It does this so effectively that at times its difficult to remember the surface is indeed flat. Amazingly, all of the effects are in camera – that is, no special effects were applied after recording. After watching the video, its interesting to think about the potential use of such technology. Bot & Dolly go on to speak about the project saying:
“Box explores the synthesis of real and digital space through projection-mapping on moving surfaces. The short film documents a live performance, captured entirely in camera. Bot & Dolly produced this work to serve as both an artistic statement and technical demonstration. It is the culmination of multiple technologies, including large scale robotics, projection mapping, and software engineering. We believe this methodology has tremendous potential to radically transform theatrical presentations, and define new genres of expression.”
Matt Wisniewski has so much great work on his site that i could do 15 posts about him. However my favorite pieces from the bunch has to be these digital collages that seamlessly blend painting and photography to create gorgeous abstractions of the human figure.
Sonya Derman is an artist and illustrator making her way in San Francisco. Her brush is unwavering and filled with anointed colors that cue the subject matter to an extremely beautiful place. Working with a very specific tone, Sonya’s work eschews the natural for a slight tilt; and it looks terrific.
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Often treading between reverence and ridicule, the mystifying allure of art that reiterates sexual transgression remains suspended within a deviating purgatory of the sacred and the obscene. Buoyantly drifting within the underbelly of normative culture, the erotic and transgressive create a synergetic relationship in a strike against societal conventions. Through a crude presentation of social perversions, the atmosphere created through sexually transgressive art permits an insight that challenges not only sexual precepts, but invites a critique of human behavior irrevocably influenced by social structures. In an explosive resurgence of suppressed sexual impulses, the following artists create frantic, tense and exquisitely obscene renderings of deviations and sexualized social distortions.
Brooklyn, NY based painter and sculptor Lisa Beck creates reflective, Rorschach like abstractions that function simultaneously as murals, paintings, sculptures, and installations.
“My work has always been driven by certain preoccupations and obsessions, that can be seen as divided between the particular and the universal. The particular is shorthand for the observable aspects of reality, the stuff around us (the landscape, our bodies). The universal is a shorthand for things that are too vast or too tiny for us to grasp completely ( space, atomic physics)— that necessarily become a kind of abstraction. Those are the things that I think about, with an emphasis on the relationship between those things — the place where they meet or interact, rather than the divide. I’m concerned with where I stand, or where anyone stands, in relation to these aspects of existing reality … the act of observation of the place in between; visual awareness and perception as a way of understanding existence, like a filter.
I tend to be attracted to opposing but related visual phenomena like positive and negative, pattern and randomness, color and grayscale, flatness and depth, representational and abstract imagery. I always want to go in both directions a once and much of my work has involved trying to find ways to integrate these opposites. My most prevalent motif has been the circle in all its forms and references. Atoms, dots, spheres, solids, voids, cells, selves, stars, eternity, emptiness- it’s amazing how much can attach to this form.” (via)
The work of artist Kris Kuksi has a decidedly consistent style. His amazingly intricate sculptures are often dark, reference both the classical world and the industrial landscape, and comment on religion and politics. His Churchtanks series, though, seems to especially encapsulate his philosophies. Kuksi seamlessly fuses gaudy cathedrals with modern war tanks to create one imposing structure. In a strange way, the aesthetics of each seems to compliment the other. Kuksi effectively uses the structural blending to comment on a connection between religion and violence.