8oinks

Buck: Animation in 2d and 3D  (via)

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?

Shannon Keller: blood for everyone (via)

see also: Knitter by Shannon Keller

Rabbitho on flickr

Sofia Ajram: relax, turn around and take my hand. (via)

Dan Estabrook discovered photography through the underground magazines of the punk-rock and skateboard culture of the 1980’s. He worked with Christopher James, from whom he learned alternative photographic processes as well as ways to combine his disparate artistic interests. Working exclusively in 19th century processes, Dan Estabrook produces intimate, yet compelling photographs that illustrate the beauty of long forgotten methods. (via)

Just one hundred years ago, science could still claim palmistry, phrenology, and physiognomy among its disciplines, and even today we tend to believe that written on the body are the keys to decipher the secret language of the everyday. There is science, too, in photography — mixing salt and silver to represent the otherwise unseen details of the natural world. By processes physical and chemical, it is even possible to distill one’s breath, capture time, and give a material life to the immaterial. It is this alchemy that moves me. Using and emulating nineteenth-century printing techniques, and making visible the very physical materials of which photographs are made, I attempt to have seemingly anonymous photographs become highly personal objects. In these images a single repeated shape, a formation of flowers, or the patterns of dust and decay are almost legible texts, inscribed on the skin of paper, tin, and glass. — Dan Estabrook

via morbid anatomy

A short video-series  called: Lucía, Luis y el lobo (Lucía, Luis and the Wolf)
The video was shot frame by frame with a digital photo camera. Materials: charcoal, dirt, flowers, found objects and cardboard.
by Niles Atallah, Cristobal Leon & Joaquin Cociña

Urszula Kluz-Knopek, Poland - a contribution for Bye Bye Blackbird on 8oinks!

Director: Monica Gallab, Belgium - The surreal, perpetual conveyor belt of life pushes these characters towards the promise of a picnic. (read more)

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.

smackmusic on flickr

Black and white stop motion animation shot on 16mm film.

Jenism - Somewhere in south america, Mazel tov, Festivus, Pomp, unexpected grid. Illustrations by Jennifer Crouch

Gino Rubert born 1969 in Mexico; lives and works in Barcelona.

Laziness exemplifies satire well. Taken on a political or personal level, the point is well made. “My brain has become the brain of a fish. It’s in no state to think of anything…but why disturb the waters.” (via)

Animated by Aleksandr Tatarskiy and Igor Kovalyov
Directed by Yevgeniy Sivokon 1979

Paintings and Photographs by 蛙式大人

Tamishir on flickr and 8oinks

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

Edward Hyde on Flickr _ CIREDz

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

Laurie Lipton was born in New York and began drawing at the age of four. She was the first person to graduate from Carnegie-Mellon University in Pennsylvania with a Fine Arts Degree in Drawing (with honours). She has lived in Holland, Belgium, Germany and France and has made her home in London since 1986.

Her work has been exhibited extensively throughout Europe and the USA. Lipton was inspired by the religious paintings of the Flemish School. She tried to teach herself how to paint in the style of the 17th century Dutch Masters and failed. When traveling around Europe as a student, she began developing her very own peculiar drawing technique building up tone with thousands of fine cross-hatching lines like an egg tempera painting. “It’s an insane way to draw”, she says, “but the resulting detail and luminosity is worth the amount of effort”.

Walter Martin was born in Norfolk, Virginia and Paloma Munoz was born in Madrid, Spain. They have been collaborating since 1993 to re-imagine the snow globe, taking sentimental keepsakes and making them sinister. As objects, the globes are kitschy as the real things; as narratives, they’re absurd and callous. It’s winter wonderland gone terribly wrong. (via)

Originally discovered on the blog Redundancy is Redundant, Eric Rondepierre’s gorgeous and inspiring manipulations of old cinematic images. More of Rondpierre’s work can be found on his website.

Shane Acker holed up and spent nearly five years making his 11-minute animated shortfilm 9 , which snagged him a 2005 Oscar nomination and attracted the backing of fantasy auteur Tim Burton.  Read Review

Vesna Jovanovic is a contemporary visual artist whose work ranges from surreal drawings to pinhole photographs and double-walled ceramic vessels. Her creative process often involves a combination of chance and precision, reflecting interests in time, science, and the unity of opposites.

“My involvement in science caused a personal transformation that is reflected in my current artwork. During my pursuit of chemistry, moments and events gradually acquired names, and the world turned into a language of formulas. But once something could be named and broken down, it no longer contained its sublime, powerful anonymity. As a result, and despite my continued love of chemistry, I experienced anguish and a desire to find other ways to explore the enigmas of life.”

Instead of serving as a means of self-expression or communication, art now fulfills the same role that chemistry once did: it is an avenue of inquisition and discovery. Unlike chemistry however, art aims to reveal questions rather than answers. (via)

Benedetta Bonichi relies upon the collaboration of Italian and foreign important universities and scientific institutions, in order to realise her works; where she has been invited to deliver lectures and teach.

After years of research and studies (ranging from philosophy, ancient history and language philosophy to paleethnology and ethology) thanks to the President of the Italian Microbiology Society, she gets into contact with the School of Human Anthropology within the Biology Faculty in Florence and collaborates with some of the American teachers. In 1991 she leaves University dedicating herself to music, dance and mime and founds a theatre company, also beginning drawing, painting and sculpting. In 1995, by chance, she comes across the article “To see in the dark”, written in Germany in 1934.
In light of a Kantian reading of reality of Laurentian features, from 1995 to 1997 she creates approximately fifty sculptures illustrating the theme of shadows. Persuaded by the need to go beyond, “I do not know how to study, describe, nor draw this magnificent obsession that is reality…”, Benedetta Bonichi seeks a new type of language. After years of research going beyond aesthetics and ignoring light, in 1999 she creates the first X-ray images.

“Radiography is more than a technique. It is rather a teknè; that is the only possible means to read reality, through matter rather than light. Radiography, together with photography, digitalisation and fresco powders…” (via)

Patricia Piccinini’s worlds are full of youngsters, including pink and blue truck babies promising to tell where grown-up trucks come from.

Patricia Piccinini’s exhibition at Artium explained by herself

The Gathering

Levi van Veluw, born in 1985 Hoevelaken, is a multidisciplinary artist, he lives and works in the Netherlands.

With the 4-piece series ’Landscapes’ Levi van Veluw reinterprets the traditional landscape painting, removing plots of grass, clusters of trees, babbling brooks from their intimate 2 dimensional formats and transposing them onto the 3 dimensional contours of his own face. Thus a fresh twist is given to the obsession inherent in the romantic landscape of recreating the world and simultaneously being part of it. The romantic landscape and self-portrait genres are combined as a means of re-examination. (via)