Wadden assembles his paintings by piecing together his hand woven weavings to create large, geometric creations. Contrast to traditional painting, his composition is decided during the final stages of assembly. Wadden was Influenced by the likes of First Nation, folk and Bauhaus textiles as well as...
Some beautiful concept art visualising the invisible world of computer viruses. Michael Rigley based the artwork on the Participant Media feature-length documentary “Zero Days”. A US and Israeli sabotage mission targeting an underground Iranian nuclear facility.
Often it is Attenborough who brings me mesmerising beauty of nature and animals that inspires me to see things differently. This time it is Cally Whitham recreating uncanny resemblances of birds. The portraits are incredibly realistic and freakishly bare some human resemblance, too. Its in the eyes.
Light pigment applied to light surface here, encourages Jen Mann's images to appear raised and tangible, like sculptures rather than painting. They are not ghostly, rather fresh and simple - distinct and subtle. The beautiful women, who could be twins, holding their palms towards one another - is my
I enjoy nothing more than images of beautiful, fluid depictions of thick, wispy, curling… Smoke? The marbling of this beautiful stuff almost makes it seems it has veins - life. In its ever changing state, it coils and wraps itself around itself… It dances with itself, but seduces us. The imagery that Alberto has
Although there is an element of humour emanating from the design of the characters Jiyoon Chung has illustrated, there is also a deep sadness - particularly encapsulated in one illustration of the peculiar mound person with scrawny little arms and hands. An empty space has formed in its mound and the
So vivid are Bastian Preussger's illustrations, muscular and skeletal hints can be read. From the dark grainy textures emerge suspicious characters; a holy man with an unusual look cast upon his face, a priest gawking to our right while his fingers hide some of the most essential parts of the face where expressions are usually made clear. The illustrations reminds me of a single traveller, forgotten camera, journeying across lands vastly different from one another, and here is the documentation, the crafted evidence of crafty looking men.
The art of light is a truly splendid thing indeed. These linear light streaks appear to be caught in movement as tails of illuminated broken streaks are often captured. The colours, neon blues and hints of red, reminiscent of the cinematic feature 'Tron', are enough to convey movement and speed on their own. The light seems to be mimicking something, as one frame sees the light taking on a cylindrical form. A wonderful display of an evolved version of something that has been a landmark invention for humankind.
The style is magnificently unique, the subject matter tranquil and wholesome. We have witnessed texture detailed artworks before but this is an entire experience of viewing from different angles; paintings that literally jump out from the frame. The scale they reach is seriously impressive. Some take on both birds eye views and landscape views - both impeccably executed. The entire architecture of Gregory Euclide's paintings/sculptures is a very rare style indeed - perhaps mostly due to the patience and skill owed to the technique of creating it.
Very neatly, Robbie Rowlands has sliced out and left hanging strands of floor, wall and ceiling. The cuts seem to have been torn out of place with such ease as Rowlands demonstrates a clean, precise and truly creative cut. A deformed desk leans helplessly as its legs meet halfway - the structured bend both beautiful and bust. It is an admirable achievement to have created more than one concept of perfectly torn pieces; the different contexts translate Rowlands' creative agility with a single idea. And the magnified scale at which these installations are presented only enhance the overall impact. I feel to press some of these tears back into place, like a piece of a puzzle.
I find Gabriella Barouch’s illustrations so marvellously, pattern filled and life like, they are a beautiful mix of half human and half animal; strange as you may think Barouch’s style of drawing makes mixing the two look quite the norm. Realistic deer heads sit casually, atop ladies bodies, clasped hands wind together to form a small chirping bird, an old mans white hair sprout various bird heads, while willowing flowers and roots meander down, intertwining into his lengthy, refined beard.
Barouch seems to really connect her drawings with nature; animals appear to make themselves at home and at one with humans, the way in which her work is presented; the sketchbook, lain bare in its natural form, a simple, earthy palette.
I particularly enjoy, the injured bear together with the soothing, concerned child, for me the connection within Barouch’s work between nature and people is made quite lucid whilst admiring this specific piece.
Many fascinating photographic depictions here involving double, sometimes triple layered matter - like a delicious cake, Dan's images look as good as layered cake tastes. The roar of a lion is subdued with the delicate demeanour of a moth / butterfly - one giant wing hushing half the lion's open jaws. The profile of a girl - while plants and trees make up most of her hair and dots mapping her face with geometric strikes, the area representing the mind or brain beholds an architectural interest… assuming her career path perhaps?
These beautiful illustrations remind me of a time that I can only be shown, because I most probably didn't exist. They seem like the type of artistry that would come of a person with limited means living in the 40's or 50's. This can perhaps be identified by not only the evidently basic tools used but also by the content; most telling are the school children, sitting disciplined at their single desks - their dresses, hairstyles and teacher give away the time immediately.
This is clearly a very unique and beautiful talent that should be admired for capturing with such primitive nature, considering the tools available today to render this texture in a mere few moments.
Stunning gamuts of patterns and colour. A fabulous display of what can only be described by myself as a pixelated fireworks display. The colours and shades, so precisely well chosen and sticking to the geometric consistency of triangles generating dozens of squares and hexagons. I could smother my walls in these creations and expect never to leave the room. And Id very much enjoy a 3D experience of these patterns!
1200 Posters is an experiment in community, conversation and collaboration. Using text from Margaret Wheatley’s “Turning to One Another,” a rotating team of artists and designers will make one poster every month for a year. Each poster will be handmade and sold in editions of 100 with all proceeds going to the artists that created them.
It is hard to differentiate whether Sam Leach's images are paint or photographic, that is how beautifully and perfectly they have been crafted. It seems as though peeking through a telescope when observing Leach's art work, cropped in and focused on one subject. Though it is not always clear what the focus is of as if the telescope has been zoomed in so much that your view is just a mere fragment of the bigger picture, leaving you wondering, is it a fish, is it a fairy? A dragonfly maybe?
Surely one cannot fathom the time taken to construct such intricacies, although absent in any colour scheme asides from black, white and therefore a very present grey, the cluster of squares clearly demonstrates what resembles a claustrophobic concrete jungle from a perspective of any big cities around the world. The patience to see though these works while creating them must be just as painstaking as travelling through a city that's structure resembles this...
A rare display here, both sculptural and something of an optical illusion. Photographically, only so much is given away; I see that it may have something to do with light and movement. The gradient has been chosen well to establish a gradual, easy transition, allowing the patterns created by the concept of this sculpture to be all the more poignant.
Like the clean, un-clustered and straightforward aesthetic of the current Apple models, Cody Hamilton seems to have redesigned some useful apparatus, attaching a timeless white throughout the objects. The collection itself seems to be directly associated with time - old school audio kits and telephones, even an all white Marshmallow Man. This theme reminds me much of the way presents are wrapped with the same paper at this time of year - when the paper explores the contours of the objects, except here its a fresh white doing the exploring.
Strong, thick application supports the likes of Julius Cappa's renderings. The man with a cap hat and a long line of something standing from between his pursed lips, sealing it in, can neither be distinguished as friendly nor harmful. His wide mouth spreads a 'smile' across his face like a scar, as do the crow feet creases from the corner of his black shadowed eye and overbearing brow. The colours washed down the piece in an unorganised fashion almost appear as blood when pulling the red from the blue-green. It would be interesting to now this one's story.
An incredibly inventive idea; to extend the boundaries of any space and transform it into the illusion of something bigger, something better. The believability factor of each extension is overwhelmingly powerful. The time and motivation to explore and learn the angles of a space in order to bring life to an otherwise blank space, is extraordinary and admirable in a way that makes me envy the artist. I urge anyone to go along and witness this with enthusiasm.
Something, Im not sure what yet, about these images, reminded me of Munch's 'Scream'. I think perhaps the length of Aron's people, their icy stances and blank expressions is the same scary, secluded and cold feelings I receive from such isolated, sad images. The young girl crossing the small fence in her underwear, for me, is particularly disturbing. Why is she there? It looks so cold in that green fog and blue-green ground. She doesn't even seem real, human or alive. Not that she appears to be particularly unhappy, but there's just something terrifying lurking somewhere.
I have never used the term 'super . natural' with as much punctuation as I will for describing Tanya Johnston's depictions of landscapes occupied by peculiar, alien landmarks in the forms of cubic, transparent, golden material suspended above a translucent, small sphere; an upside-down, oblique house shaped object, also held in mid air by perhaps the shadow of a man to the right; and then some less solid more mathematical and geometric spheres created with a dozen specifically placed lines, assigned to their positions mysteriously on the grass of vast forestry. Its all very ambiguous and thought provoking.
As far as I can see, every piece consists of layer upon layer - eventually creating an illusion of something more tangible than one dimensional and something more visually satisfying than two dimensional - the illusion supersedes 3-D image appearance, it is a terrific example of how layers create dimension. Each picture contains a very distinct background, flat and distant, as it should be; followed by a central subject then accessorised with frames and decorations close to the viewer. My favourites are, the feminine man glaring from behind a window; why is there a lamp and curtain on our side of the window… As if we're looking through our room at him..? And also, I very much enjoy the women's heads, thick with beautifully fluid hair, gradually shrinking and changing colour.
The abstract patchworks here, that Marek Haiduk has produced, evokes a perplexing sensation as I quander the significance and yet feel that they are strong in narrative. Somehow with bizarre combinations and exaggerated difference in size, the works seem to display an interesting contrast between having some kind of story behind them, or having no meaning at all except to be aesthetically pleasing. Either way - they inspire my imagination to embark upon adventures whilst looking at them and searching for a narrative of my own to fit.
Dan Hiller, producer of the twisted combinations that suggest an even more warped narrative as a human skeleton bears an antlers skull, carrying a cloak and the head of a human woman designed as a mask - all in the same sitting, rendered in shades of grey for a primitive effect, perhaps. The skill of being able to depict real life is immaculate and although limited in colour, portrays a lifelike likeness yet unreal and most unlike-life situations and amalgamations. Superbly done but disturbing to witness.
Rendering of watercolour application, when strokes of colour are clearly made separate from the rest - creating a wonderful blend of gradual images, is a technique I've always thought that only the very careful and skilled can achieve, and by the looks of things, I'm right… The precision at which Dmitriy Rebus Larin applies one stroke after the other is admirable; knowing where to stroke and where to blend, where to dabble and where to leave blank. His matter - especially of the can opening illustration, depicts a surprising quality of realness in the veiny, muscular hands and arms… A thought penetrates about the eager state of the scene with the red of the ink blotching and the gripping hand on the can just covering the letter 'm' of what is obviously meant to spell 'Freedom'.
Marguery seems to enjoy playing with the many angles of perception. Making the matter complicated using puzzles sometimes in the pieces.. shapes form from these obscure 3-dimensional appearing images. Sometimes colours chop and change inconsistently and abruptly, intensifying the outlandish style. All in all, Marguery's is a technique unconventional and ambiguous.. You can try to be clever and decode the puzzles.