Eric White: The idea that there are things that exist beyond our perception is fascinating to me. It is something that I think about a lot, and it is not necessarily clear in most of my paintings, but I think it’s the foundation of pretty much all of it.
Read an interview with the artist on fecal face,
and have a look at Eric White’s Eclecticism: Virtue or Defect?
Brendan Danielsson: My work isn’t conceptual, personal, spiritual or political. And there’s no secret underlying message or point I’m trying to get across. I’m not trying to say much with it….at all. I simply create art that I would like to see if I were not the one making it. The process, as I develop a piece, is little more than a stream of consciousness without much forethought to what the end result will be. But I do try to incorporate a few elements of conflict to create a narrative for interest. These usually deal with man vs. beast, beauty vs. ugly, sensuality vs. violence, etc. Believe it or not, I don’t enjoy much of the actual process of creating art. It’s a contant struggle for me and I’m my harshest critic, but the end result is what keeps me going. When I create something that I actually like, I’m a happy man. (via)
Pakayla Biehn’s most recent body of work concerns her congenital vision disability, called Strabismus. Her eyesight consists of mutually exclusive images trying, unsuccessfully, to bond into a cohesive impression.
First Solo Show:
January 2010, Every Single Where, Gallery 6, San Francisco (Read More)
also take a look at Pakayla Biehn’s photorealistic paintings
The visual style of Travis Louie’s work is strongly influenced by the lighting and atmosphere of German Expressionist and Film Noir motion pictures from the Silent Era to the late 1950’s. Travis’ paintings come from the tiny little drawings and many writings in his journals. Using inventive techniques of painting with acrylic washes and simple textures on smooth boards, he’s created portraits from an alternate universe that seemingly may or may not have existed.
Travis Louie is currently exhibiting new works at the Shooting Gallery.
More news on travislouie.blogspot and find beautiful high resolution downloads on travislouiegalleryexhibits.blogspot
Hibiki Miyazaki’s influences include old movies and printed illustrations from the thirties, forties and fifties, which have a dreamlike and slightly naive quality to the characters. To produce her prints she uses sandblasted copper plates, line etching, spit bite, and xerox transfer.
Sometimes this whole process seems ridiculously arduous and arcane but that’s what I love about it too…..
Follow Hibiki on flickr, sneak into her amazing sketchbook and check her gallery
see also: Proofing Madness Unfinished State, by Hibiki M.
Jenny Morgan: “I manipulate the figure to expose the individual’s idiosyncrasies and create a physiological portrait. Working with people from my own life as subject matter allows me to hone in on specifics of their character and present their personalities as I experience them.” (via)
Alison Watt was born in Greenock in 1965 and studied at Glasgow School of Art from 1983-88. From 2006 to 2008, Watt was the Associate Artist at The National Gallery in London, an intense period of work culminating in the spectacular solo exhibition Phantom (2008) which explored her enduring fascination with one particular painting in their collection, Zurbaran’s St. Francis in Meditation.
“These exquisitely painted canvases edge further towards the abstract yet had a strange, almost sexy quality which suggested a human presence, or at least absence.”
The grotesque and the distorted provide the subject-matter of Jonas Burgert’s art. The atmosphere in his paintings is of a world of destruction and decay. Each painting is a carefully constructed stage, containing an artificial world set up with dramatic lighting, exotic costumes, stage props and sweeping staircases. As if set in the theatre or opera, fantastical make-up and costumes evoke humans and animals, shamans and magicians, giants and dwarfs, demons and harlequins, creatures dead and alive.
Rules and actions of this world and their inhabitants mostly remain mysterious and inexplicable to the viewer. However, whether Burgert’s actors are on their own or cramped together with countless other beings in a kind of contemporary history painting they have one thing in common: the loneliness of the individual. (via)
The artist is currently showing at Haunch of Venison London
Milan based painter Valerio Carrubba is a hyperrealism painter. He has some pure beauty work that are already in some big collectors homes. Some of his works are painted twice; one brushstroke lying on top of the other. This double painting emphasizes the colors and repeats the form in order not to describe them but almost to deny them. (via)
Brendan Lott: “All the good ideas have already been thought about,” people say. They mean that this is a bad thing. But I love it. It is comforting. It really takes the pressure off of me. All these pre-thought ideas are useful, and they usually still have some good left in them, especially when applied in a different context.
Art is not special. Therefore neither are artists. An artist is simply someone who happens to professionalize an activity that everybody else does automatically. To choose the color and texture and size and style of your couch is an artistic gesture equal to one of Pollock’s drips or Judd’s shelves. The only difference is the couch chooser is simply doing it, whereas Pollock and Judd are making a big production of it. This doesn’t mean art isn‘t important. It clearly is. Like making the right choice for couch color is important. Many people express themselves beautifully by doing nothing other than selecting clothes that they will wear that day. Is this any less valid than Duchamp selecting a snow shovel? The difference is that Duchamp gets in the canon and everybody else just looks great at parties. I’m not sure which is more important.
If I could write a dictionary I’d want to make all the strong words so broadly defined that they would lose all practical meaning outside of a specific context. I’d like negatives like stupid and ugly to become more positive and words like brilliant and beautiful to become more negative so that they would meet somewhere in the middle. These words would then become simply descriptive without carrying any sense of judgment, like shiny or rectangular. I think then the language would become really free. People could say whatever they thought without worrying about hurting anybody’s feelings. People could really describe their own personal state of affairs clearly and without shame. (via)
Exsitu Insitu is the latest animation by artist SAM3 (Granada, Spain) featuring music scored by Endika Currier(San Jose, CA). This work was created on location at Anno Domini during the last 2 weeks of August, 2009 in preparation for the opening of Sam’s debut solo exhibition at the gallery. (via)
wall painted animation
http://www.vimeo.com/6527740Julian Antonisz, (November 8, 1941 - January 31, 1987), was a Polish avant-garde filmmaker, artist, animator, scriptwriter, composer, and inventor. Best known as an inventor and promoter of his unique animation technique called non-camera.
Sun A Non-Camera Film 1977 was his first all non-camera movie, although the technique has been used also in Antonisz’s earlier productions. The idea after the tehnique was to paint or scratch the images directly onto the movie tape instead of using a camcorder.
His most awarded work is How a Sausage Dog Works 1971
also check out What Do We See After Closing Our Eyes? 1978
Sonia a Novosolov, Born in 1983 in Moscow, Russia. Immigrated to Israel in 1992.
Currently working on a series of paintings called “Anorexia”.
Camilla Engman grew up in a small Swedish town named Trollhättan. This is where she began looking at life from a perspective that most of us see only momentarily. Often through animals or people, Camilla’s pictures inspire their audience with a wide range of feelings. Her work has a knack of allowing you to grasp a notion without robbing you of your personal interpretation, regardless of whether it’s an acrylic painting, paper-on-paper or mixed media.
Ana Botezatu: “I know it’s not such a big thing this dog…but still”
“ideas in my sketchbook for a new Alice in wonderland”
Doublethink; the act of simultaneously accepting as correct two mutually
contradictory beliefs. Orwell’s prescient concept flourishes.
Angst vor der Angst redux, Faux film still.
I got into art when I was really young. I have always been drawing and creating paintings ever since I can remember. As a child, you never really know what you want to do, I just knew it had to be something to do with art. I went through art college and studied Fine Art at university. While there, I met some people who had a real hunger for art and they had a really big influence on me. I fed off their desire to create and it made me realize that it was possible to make a living as an artist. (via)
Antony Micallef has exhibited throughout the world from L.A, Tokyo to Palestine. As well as exhibiting at the National Portrait Gallery recent group shows include the Royal Academy, Burlington Gardens and a print show at the Tate Britain.
Also make sure to check out Antony Micallef’s face studies and portraits
Edie Nadelhaft “When I choose to paint something, it is the sheer essence of that thing that I attempt to depict, be it the sweet, sloppy pleasure of eating a cherry, or the diaphanous wing of a fly. My perspective ranges from close to extreme close-up, settling upon a vantage point that teeters on the edge of the picture plane. My expectation is that scrutiny will lead to simplification and clarity. The reality is more like a set of Russian nesting dolls: further investigation reveals the same or an even greater level of complexity - a tiny universe within.” (via)
Interview with Edie Nadelhaft at Sweet Station
Also take a look at Edie Nadelhaft’s ”Laughing My A** Off”-Pills series
Maya Bloch was born in Be’er Sheva (1978). Anna Veronica was the original, now almost forgotten, name of Maya Bloch’s mother, before she was granted a new, Hebrew one, upon her arrival in Israel at the age of five. Its employment does not point to a preoccupation with the artist’s biography, but vice versa - to a kind of metaphorical ghost symbolizing for her the possibility of otherness to inhabit a familiar space and the possibility of melding real and fictional biographies.
This doubling is expressed in the way Bloch produces the subjects of her portraits, which are based on photographs from newspapers, other people’s family albums and the internet; she “harasses” these family photographs and “imports” them into her own world, in this way resuscitating unknown identities and making up other people’s emotional worlds. But even though she relates to the photographs’ characteristics by borrowing their compositions, she does not search for a realist context but rather dredges up the dark psychic situations that lie behind the photographed figures’ representational “poses.” mia.in.the.sky
Jumbo Fruit, explores the underbelly of American culture, reflecting on an age of consumerism and over-stimulation. Using obsessively bold colors, Rob and Christian Clayton generate a tangled myriad of technicolor imagery that stems from the traditional still-life. The brothers transcend convention to create a kaleidoscopic medley of fruits, figures, and objects. (via)
Japanese Entrepreneur and Artist
TonchiDot CEO & Photographer
[ Planet of the blythe ]
No man’s planet of the Blythe dolls. It is very peaceful and lovely.
[ Ultrart ]
Ultraman + art = ultrart.
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Italian illustrator devoted to sci-fi.
Founder of Airstudio.
[ Invading The Vintage ]
Cute Aliens invading grandpa’s postcards.
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