If you’re a designer (of any kind), and you want to top off your CV this year with incredible recognition, the A’ Design Award and Competition is announcing a new submission day. The A’ Design Award and Competition is the world’s most inclusive and largest design competition that rewards creatives with highly sought-after prizes and industry insights and feedback. It aims to highlight the best designs, concepts and design-oriented products around the globe each year. There’s an early deadline on June 30th, the regular deadline is September 30th, and the late deadline is February 28th, 2020. The winners will be announced on April 15th, 2020. Throughout this post view some of the most recent winners!
Artist Erika Lizée re-imagines reality in twisted, magnificent forms that bend through our world and into the next. In her incredibly installations, she uses acrylic on Duralar, a translucent kind of film that allows light to pierce through some of the work. They are paintings that have sprung into the third dimension. Lizée’s sculptures are like otherworldly beings, shifting in and out of our world’s outer boundaries. By using Trompe l’oeil painting technique, she creates an illusion that you can see this other being behind the wall of the gallery. It is as if there is a magical world that we now have the chance to peer in to.
The mysterious and ominous mood that is created from Lizée’s large, flowing installations reflects her intent to express the beauty and mysteries of life. Her work seems to be in a state of flux, shifting back and forth, expanding and contracting. The artist explains that this shift is like the collective consciousness that is continuously altered by scientific discovers and new experiences. The way in which we think of the world and understand our environments are constantly being redefined
All of this combines with the complex ways in which we internally create our own notions of reality based on perceptions, beliefs, and filter.
Erika Lizée’s breathtaking installations pull us in to a foreign space of flux and transformation.
The installations serve as a metaphor for the journey of our personal and shared life experiences.
Dean Zeus Colman’s artwork has given us his drug of choice, which is hand molded Ecstasy tablets cast in plaster. His series Love Is A Drug includes sculptures of Ecstasy tablets of all different shapes and sizes that actually exist in real life. Knowing this bit of information, it is shocking to see how many different designs and even logos are imprinted on these little tablets. There are more common images like smiley faces, money signs, and stars on the drug, but a few have images that may be of surprise to you. The Mortal Combat symbol, the UPS logo, and even the beloved Bart Simpson’s head has also been included in this eclectic variety of Ecstasy tablets.
Zeus, based out of London, grew up involved in a subculture where Ecstasy tablets were often present. The drugs were readily available, not surprisingly, while working in the Rave scene. Zeus has long been working as a street artist and has been tagging since the 1980’s, which has influenced and led to the making of Love Is A Drug. Other sculptures of this artist reflect this lifestyle and draw off inspiration from graffiti such as his three-dimensional graffiti text constructed from glass and wood.
Love Is A Drug is currently on view at Prescription Art in Brighton, England, which focuses on street and graffiti art. The exhibition features thirty-six limited edition, larger than life Ecstasy tablets. (via The Creator’s Project)
Some may say basketball is their religion. Well, if you worship the game, then these stained glass basketball backboards might be right up your alley. Like stained glass windows that depict religious icons in churches and cathedrals, artist Victor Solomon places breathtaking and beautiful stained glass windows in place of basketball backboards. These are not likely to be used at any court that you’ve ever seen, as they are likely to shatter into a thousand pieces. Each piece is ornamented in luxurious materials and gems, including the basketball goal’s net and rim. This series, cleverly titled Literally Balling, embodies the lavish lifestyle and luxury that NBA all-stars. These superstars being like royalty, Victor Solomon adds an age old, delicate art to their domain.
Solomon hand assembles these brilliant and intricate creations in the timeless beauty of the Tiffany Style. What is ironic about this work is that although hypnotizing to look at, none of the remarkable basketball goals are by any means functional. They are as fragile and as easily broken as success and wealth. If a basketball player gets injured, they can be done with playing the game forever. Their career could be over. Solomon’s goals embody this brilliance, power, and delicateness that a life in the sports industry can have. If you want to see more of Victor Solomon’s amazing work, you can see more of his work here.
Canadian artist Drew Mosley paints vivid scenes of anthropomorphic animals on layers and layers of resin. Being an artist and a carpenter, his work contains layers of resin that sit inside custom made wooden frames. Being surrounded by incredible nature in his hometown of Ontario, he draws inspiration from the breathtaking beauty of the wild. The little forest creatures he depicts in his artwork are no doubt animals that he has come across on hikes or in daily life. Drew Mosley’s furry friends look like characters from a storybook, with lots of personality and quirky qualities. Although the critters are wild, they act somewhat like humans by carrying objects such as traveling packs and flags.
Drew Mosley creates in depth atmospheres by painting on individual layers of resin. Each animal almost seems to be popping out of its lush habitat, appearing three-dimensional. Even the feathers of the owl seem to be standing straight up, creating a very real sense of volume and shape. By using this technique, the artist renders extremely realistic textures of fur, feathers, twigs, and leaves. Many of his dioramas include found objects that sit right in the resin, jutting out from the piece. In Mosley’s work titled The Egg Thief, a real quail egg is included in the composition, making the entire piece look all the more realistic. The artist also being a carpenter, he creates sculptures and installations of his wild critters. (via Colossal)
Artist Valerie Blass reimagines an age-old subject in art, the figure, and uses her distinctive artistic vision to create her intriguing sculptures. She manipulates and abstracts the human form until some of her subjects look like entirely different beings. By constructing her artwork from an eclectic variety of different materials, each figure becomes highly stylized and unique. Ceramic, Styrofoam, paint, plaster, and even artificial hair are just some of the materials that can be found making up Blass’s artwork. Referencing material culture, one can see the many textures and elements transforming each figure.
Valerie Blass’s figures hold in intense, psychological quality due to their lack of identities. Although there are many fine details in her work, Blass often leaves out the figures’ face. Sometimes, even part of the body is gone. These aspects are replaced by surreal characteristics such as a heap of black hair or a colorful, organic mass. Each piece of Valerie Blass’s takes on a life of their own, with their own, unique textures and colors forming a new kind of creature. Her work is both bizarre and beautiful all at the same time, leaving you puzzled about what exactly it was that you saw. This Canadian artist has an impressive body of work, with her art being owned in both public and private collections around the world.
The nightmarish sculptures of Italian artist Sasha Vinci are both alluring and unsettling. With the human body often being his subject, his work portrays a sense of longing, a palpable sense of a tormented soul. Having work with titles like The Eternal Wait and You Are Here You Exist, the suffering of human existence is strongly felt. Ripe with emotion, his mutated figures look for a sense of belonging in the world. His fleshy subjects seem to have skin that melts off their feet and hands, binding the two together. Vinci’s subjects are trapped by means of their own body, perhaps a metaphor for humanity’s own self-destructive nature.
Although monochromatic, we can almost see the color of flesh and blood absent in many of his sculptures. In his artwork titled The Eternal Wait, the drips of flesh coming down from the entire body add an intensely graphic, carnal element that is extremely alarming. We cannot see the face in this or any of Sasha Vinci’s figures, adding another layer of isolation to these already lonely creatures. One of Vinci’s more disturbing sculptures is The Hung, where a person’s body, or what’s left of it, is being hung. The body has been disfigured, with half of its limbs missing from its faceless body. The artist’s work forms a truly ominous atmosphere that draws you in while at the same time chilling you to the bone. Sasha Vinci, being a multi-talented artist, also creates work in mediums such as installations, performance, painting, drawing, and writing.
(via Hi Fructose)
Have you ever finished a painting and completely destroyed your brushes, wondering if you would ever use your beloved, mangled, crusty tools again? Well, here is one artist that has found good use of old, filthy brushes. Rebecca Szeto takes found, used brushes, especially ones that could never be used again, and transforms them into little masterpieces of their own. The handle of her brushes are carved and painted to appear as fancy women, while the bottom bristles of the brush are left to look as they originally appear. With a little creativity and ingenuity, Rebecca Szeto makes the wider bottoms look like dress skirts. The stained, curled up bristles are now fringes to an elaborate gown, the paint being its silk.
The women Szeto’s brushes magically become many different kinds of women, taking on the form of all different shapes and sizes. They include women of different ethnicities and origins; one even portrays a mother adoringly holding her baby. You may have noticed some of the brush-women looking familiar to you. This is because several of the characters hold an art historical significance. For example, one woman is obviously Vermeer’s The Girl With the Pearl Earring, while another, maybe not so obviously, is the little girl in Diego Velasquez’s Las Meninas. Rebecca Szeto has cleverly taken an object that would normally be discarded, and with a little patience and skills, transformed it into something unique and amazing. Szeto explains further her intent behind these little women and what they convey.
“These works are an homage to an often lost sensibility and quality of touch and thought, not simply the superficial look of Old Masters’ works. The lady-like portraits are a playful strategy I use to introduce the more indelicate and subtler aspects of waste management and working women (underestimated, underpaid, unnoticed, yet unyielding).”