Is that a painting — or a person? Unconventional artist Alexa Meade slathers her subjects with paint, and even dunks them in a bathtub of milk, in pursuit of the perfect portrait. The results will make you question where reality begins and ends, and what it means to create art.
Currently living and working in Toronto, artist Gosia recently completed work on a series of beautiful sculpted busts made from polymer clay and gypsum. Titled Pearl, Luna, andEva the works are an extension of her earlier paintings and are her first foray into sculpting. The artist shares via email:
It is an absolute thrill and pleasure to sculpt. Just as the final pieces have more dimension so does the experience of creating them. With every new figure I fight an internal “battle” of staying true to my posing model and creating someone from my imagination. The result ends up somewhere in between with elements inspired by neo-romanticism and fantasy.
Pearl, Luna and Eva are the first pieces in an ongoing series of originals created from casts of one bust. I had modeled a bald figure, made a mold and cast what i like to call my “blank canvases”. I then hand model unique details on each piece, just as you would to a blank canvas, creating “someone” new each time.
This fun piece was painted by illustrator and muralist Mona Caron on Duboce Avenue at Church Street in San Francisco. Titled Manifest Station, the small mural was painted on a standard utility box and has to be viewed from a specific spot so that the horizon lines of the artwork match those of the actual intersection. As an added bonus, a mural in the background which was repainted in part on the utility box is actually an older piece by the same artist. Caron is currently working on a surprisngly great series of weeds and just painted a giant wildflower in Union City.
In an attempt to better engage the youngest visitors to the Museum of Contemporary Art in Tokyo, Torafu Architects created a special art gallery just for kids called Haunted House. On entering the exhibition a few familiar artworks appear hung in frames around a large white cube, but something is clearly amiss as everything appears to be moving.
The eyes in a portrait dart back and forth, a pair of hands emerges from Mona Lisa’s face and begins to manipulate the painting, the head of a portrait turns around in loops, and then a wave of relief as children realize this isn’t another crummy art gallery with old boring art. A secret passageway leads to the cube’s interior where almost every artwork can be manipulated or altered from behind, a place where the art can be touched and kids are free to laugh, run and play while interacting directly with some of the world’s most famous paintings. A killer idea.
The Funnel Tunnel
If you happen to drive down Montrose Blvd. in Houston this week you’ll most likely encounter this massive wooden sculpture winding its way along the esplanade, and you would be right to ask yourself, is that a tunnel? A funnel? Well, it’s both! It’s the Funnel Tunnel, a recent public art installation by artist Patrick Renner, commissioned by Art League Houston. The snaking 180 foot sculpture was built from steel and reclaimed wood and snakes its way just outside the ALH building in Houston. You might remember a somewhat similar structure built in 2005 (also commissioned by ALH) called theInversion House by Dan Havel and Dean Ruck. See many more photos here. (thnx, justin!)
Artist Rogan Brown creates intricate sculptural forms reminiscent of microorganisms, plant life, and topographical charts by deftly cutting patterns in layer after layer of paper. A single work can take upward of five months to complete, and just like the organic forms he seeks to emulate the piece evolves as he works without a preconceived direction or plan. Via his artist statement:
I want to communicate my fascination with the immense complexity and intricacy of natural forms and this is why the process behind my work is so important. Each sculpture is hugely time consuming and labour-intensive and this work is an essential element not only in the construction but also in the meaning of each piece. The finished artefact is really only the ghostly fossilized vestige of this slow, long process of realisation. I have chosen paper as a medium because it captures perfectly that mixture of delicacy and durability that for me characterizes the natural world.