Aurelia Butler

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    Vibrant Dream States Trap Oversized Characters Mid-Slumber in Millo’s Paintings

    
    Art

    #acrylic
    #dreams
    #painting

    May 11, 2021
    Grace Ebert

    “Mare Incognitum” (2021), acrylic on canvas, 27.5 × 27.5 inches. All images © Millo, courtesy of Thinkspace Projects, shared with permission
    “Just before the beginning of a new day, there’s a fleeting moment where dreams remain alive,” says Italian muralist and artist Millo (previously) about his new series At the Crack of Dawn. On view through May 22 at Thinkspace Projects in Los Angeles, his acrylic paintings center on oversized subjects who embody the transitional state between deep sleep and waking. The artworks are rendered in Millo’s signature black-and-white, cartoon style and trap the slumbering characters in stark architectural settings. Flashes of color delineate their lulled and curious imaginations, showing a model solar system, sloshing sea, or quiet forest path that capture the “unconscious feelings passed through the haze of the shadow till the glimpse of light, shaping what is silent.”
    To see more of Millo’s soothing body of work, check out his site and Instagram. (via Supersonic Art)

    “Karman Line” (2021), acrylic on canvas, 27.5 × 19.6 inches
    “Dusk” (2021), acrylic on canvas, 27.5 × 19.6 inches
    “Origin” (2021), acrylic on canvas, 70.8 × 51.1 inches
    “Protection” (2021), acrylic on canvas, 39.3 × 47.2 inches
    “Memoria” (2021), acrylic on canvas, 31.5 × 31.5 inches
    “The Sound of the Waves Collide” (2021), acrylic on canvas, 39.3 × 39.3 inches
    “In Reverse II” (2021), acrylic on canvas, 27.5 × 39.3 inches
    “Disappear” (2021), acrylic on canvas, 23.6 × 31.5 inches

    #acrylic
    #dreams
    #painting

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    Thousands of Discs Are Suspended in Immense Cloud-Like Formations in Jacob Hashimoto’s Installations

    
    Art

    #installation
    #nature
    #site-specific

    May 10, 2021
    Grace Ebert

    “The Sky” at Portland International Airport (2020), bamboo, resin, UV Prints, screenprints, and fiberglass rod, 40 x 30 x 18 feet. Photo by Mario Gallucci
    Artist Jacob Hashimoto (previously) hangs thousands of individual orbs in undulating, cloud-like masses that transform atriums and open spaces into monumental landscapes. His site-specific installations layer organic elements—some of the components are printed with waves, galactic dust particles, and other motifs suggestive of nature—in formations “that climb, wavelike, above the viewer, dwarfing them in almost a cathedral of humble little objects,” he says.
    The artist began creating such large-scale works in the 90s, and although they’ve evolved from simple “sculptures of the sky,” Hashimoto continues to draw on the connection between landscape and abstraction, a recurring theme that’s been increasingly informed by technology, virtual environments, and data mapping. An eclectic array of references like Japanese screens, Super Mario Bros, and the Digital Universe inform how the artist conceptualizes his compositions, in addition to the ways spatial coordinates are utilized in 3D environments. “Simply, if you build a cloud out of paper and wood and configure it in a strict x, y, z grid structure, the resulting sculpture or object or experience tells us something about how we see the world and allows us to meditate a moment on the digital/analog dialectic that is so much a part of every aspect of our lives,” he says.
    Hashimoto is currently based in Ossining, New York, and has a few upcoming solo shows, including one opening on June 4 at Makasiini Contemporary in Turku, Finland, and two others slated for fall at Rhona Hoffman Gallery in Chicago and London’s Ronchini Gallery. See more of his artworks on his site and Instagram, and read his recent interview with designboom for a deeper look at his practice.

    Detail of “The Sky” at Portland International Airport (2020), bamboo, resin, UV Prints, screenprints, and fiberglass rod, 40 x 30 x 18 feet. Photo by Mario Gallucci
    “The City” at Portland International Airport (2020), bamboo, resin, UV Prints, screenprints, and fiberglass rod, 40 x 30 x 18 feet. Photo by Mario Gallucci
    Detail of “The City” at Portland International Airport (2020), bamboo, resin, UV Prints, screenprints, and fiberglass rod, 40 x 30 x 18 feet. Photo by Mario Gallucci
    Detail of “The City” at Portland International Airport (2020), bamboo, resin, UV Prints, screenprints, and fiberglass rod, 40 x 30 x 18 feet. Photo by Mario Gallucci
    “This Infinite Gateway of Time and Circumstance” at San Francisco International Airport (2019), bamboo, resin, UV Prints, stainless steel, acrylic, and Spectra, 9 x 39 x 9 feet. Photo courtesy of the San Francisco Arts Commission
    Detail of “This Infinite Gateway of Time and Circumstance” at San Francisco International Airport (2019), bamboo, resin, UV Prints, stainless steel, acrylic, and Spectra, 9 x 39 x 9 feet. Photo courtesy of the San Francisco Arts Commission
    “In the Heart of this Infinite Particle of Galactic Dust” in Willis Tower, Chicago, (2019), bamboo, resin, screen prints, acrylic, stainless steel and Spectra, 16 feet 5.75 inches x 42 feet x 18 feet 6 inches. Photo courtesy of EQ Office, by Ed Knigge
    Detail of “In the Heart of this Infinite Particle of Galactic Dust” in Willis Tower, Chicago, (2019), bamboo, resin, screen prints, acrylic, stainless steel and Spectra, 16 feet 5.75 inches x 42 feet x 18 feet 6 inches. Photo courtesy of EQ Office, by Ed Knigge

    #installation
    #nature
    #site-specific

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    Discarded Technology and Branded Trash Are Stacked into Dystopian Structures in Alvaro Naddeo’s Paintings

    
    Art
    Illustration

    #logos
    #painting
    #watercolor

    May 7, 2021
    Grace Ebert

    “AmeriCan’t” (2018), watercolor on paper, 20 x 22 inches. All images © Alvaro Naddeo, shared with permission
    Behind each one of Alvaro Naddeo’s watercolor paintings is an imagined character who’s built a rickety shopping cart structure or gathered waste materials for a tiny, mobile dwelling. “I believe they are strong people, resilient, and survivalists,” the Brazilian artist tells Colossal. “They use creativity to overcome obstacles and adapt to any situation they are put in. So in a way, both of them, characters and discarded objects, are proof that there’s value in everything if you know where to look for it.”
    Evoking an alternative universe in a state of ruin, Naddeo (previously) renders ramshackle structures and vehicles—which only span a few inches—made primarily of outdated technology, rusted carts and frames, and a plethora of branded materials: a Marlboro sign props up an upper level, a Coca-Cola panel offers protection from the elements, and logoed posters and stickers cover almost every surface. By fashioning these relics anew, the artist speaks to consumerism and the waste it generates, a concern that dovetails with a focus on income and wealth inequalities. He explains:
    The gap between rich and poor continues to incessantly grow and it seems like nothing can’t stop it. That’s the harsh and important message of my work, but this message comes wrapped in a nice and warm blanket of nostalgia and the beauty of the composition. This warmth makes up for the harshness of the subject matter.
    Currently living and working in Los Angeles, Naddeo is involved in a few group shows in the coming months, including at Beinart and Outre galleries in Melbourne and A. Hurd Gallery in Albuquerque. He’s also preparing for two solo exhibitions next year, which will be at Thinkspace in Los Angeles and at Beinart. Until then, check out his Instagram for glimpses of his process and a larger collection of his dystopian paintings.

    “Die Hard” (2018), watercolor on paper, 12 x 12 inches
    “Mad as Hell” (2020), watercolor on paper, 20 x 20 inches

    Left: “Ghosts,” watercolor on paper, 12 x 24 inches. Right: “Yes, Please,” watercolor on paper, 12 x 24 inches
    “Mil Grau” (2020), watercolor on paper, 14 x18 inches

    #logos
    #painting
    #watercolor

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    Red-Eyed Subjects Peer Forward in Bright, Impasto Portraits by Artist Annan Affotey

    
    Art

    #impasto
    #painting
    #portraits

    May 6, 2021
    Grace Ebert

    All images courtesy of Annan Affotey and Danny First, shared with permission
    Annan Affotey has an affinity for bold, bright colors that set his subjects apart from the negative space framing their figures. Through gestural strokes that sweep across the canvas, the Ghanaian artist renders intimate portraits of his friends, family members, and the occasional public figure who, through distinctly red eyes, look directly at the viewer, a decision that’s both aesthetic and cultural.
    “When I moved to the U.S. from Ghana, I was often questioned why my eyes were red and whether it meant I hadn’t slept or was doing drugs, neither of which was true. And it became a symbol for misinterpreted identities,” he says. That experience was complicated further by cultural expectations, which Affotey explains to Colossal:
    I want the subject to have a direct conversation with the viewer, something I couldn’t do myself a few years ago. I am a shy person and when I first moved to the United States I would often look down when talking with people. In Ghana, looking down indicates shyness or respect. After being in the U.S. for a while, I finally came out of my shell and became more accustomed to looking people directly in the eye.
    Currently living and working in Oxford, the artist prefers to surround his subjects with impasto strokes because of the liveliness they generate beyond the figures’ expressions. “I use textures in my paintings for several reasons. One reason is to portray energy or emotion centered around my subject,” he says. “I (also) use many textures so that people who can’t see will still have the opportunity to feel the canvas, brush strokes and feel a story from that.”
    If you’re in London, you can see a collection of Affotey’s vibrant paintings at Ronchini Gallery through June 18. Otherwise, follow him on Instagram to keep up with his latest works.

    #impasto
    #painting
    #portraits

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    Interview: Arinze Stanley Speaks to the Indelible Impact of Police Brutality and How Extreme Emotion is the Key to Change

    
    Art
    Colossal

    #activism
    #drawing
    #emotions
    #hyperrealism
    #portraits

    May 6, 2021
    Grace Ebert

    “Bullets and Denim #2” (2020), charcoal and graphite on paper, 30 x 26 inches. All images © Arinze Stanley, shared with permission
    For the past few years, Nigerian artist Arinze Stanley (previously) has been at the forefront of hyperrealism with his powerful and sometimes surreal portraits that are arresting in size and emotion, which he discusses in a new interview supported by Colossal Members. His charcoal-and-graphite works are rendered in stunning detail and bear broader political messages, particularly in relation to state-sanctioned violence and his own experiences suffering from police and military brutality.
    What people don’t recognize about Bullets and Denim is that the artwork shows emotion on all parts, but if you have a gunshot to your head, you should be dead, right? Well, these people in the photo are not dead. That encapsulates the concept of endurance in general. Even as we try to stitch the patches of our reality, I want people to see that, that we’ve had it to the head. Enough is enough. It’s a visual representation of enough is enough because from here onwards is death.
    Colossal managing editor Grace Ebert joined Stanley for a conversation in March 2021 about how he brings his subjects to points of extreme frustration, the ways his drawings resonate with different audiences around the globe, and how he envisions his artworks as catalysts for meaningful change.

    “The Machine Man 1” (2019), pencil on paper

    #activism
    #drawing
    #emotions
    #hyperrealism
    #portraits

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    Assembled Sculptures by Artist Willie Cole Cluster High Heels into Expressive Masks

    
    Art

    #found objects
    #masks
    #sculpture
    #shoes

    May 5, 2021
    Grace Ebert

    “Street Dragon I” (2018), shoes, wire, and screws on a metal stand, 64.5 x 16 x 15.5 inches. Photo by Joerg Lohse. All images © Willie Cole, courtesy of Alexander and Bonin, New York
    New Jersey-based artist Willie Cole juxtaposes readymade footwear and African tradition in his series of sculptural masks. The figurative assemblages stack women’s heels into clusters that are expressive and distinctly unique, an effect Cole derives from the shoes’ material, color, and pattern rather than a preconceived plan or sketch. Depicting exaggerated toothy grins, pointed brows, and outstretched tongues, the sculptures span more than a decade of the artist’s career and influence a new collaboration with Comme des Garçons that’s comprised of headpieces made with black pumps.
    Each piece is layered with cultural and societal markers, including those that comment on mass consumerism, fashion trends, and notions of femininity. This context is situated in time and place, which Cole describes as “a subtle catalyst for perception. I have discovered that high heels purchased in New York are very different than high heels purchased in Georgia,” he says. Cole explains:
    I guess you could call the high heel both an anxious object and a readymade aid. ‘Anxious’ because as a symbol, it is fully loaded with history and a story all its own even as just a shoe. ‘Readymade aid’ because that history adds so much to your interpretation and/or reaction to these pieces. As for fashion, these pieces speak about the abundance of discarded high heels in the world as well as the various styles and trends.
    The artist is involved in a variety of projects at the moment, including a commission for Kansas City International Airport that’s an homage to Charlie Parker and a series of sculptures made with 75 acoustic Yamaha guitars that’ll raise money for music education. His work is currently on view at Alexander and Bonin in New York City and Beta Pictoris Gallery in Birmingham. This summer, he’s participating in a show at Hauser and Wirth and is involved in an installation celebrating a former Black neighborhood that’s opening at the Metropolitan Museum of Art this fall. See more from his expansive body of work that largely explores Black identities on his site and Instagram.

    “Sole Brother 1” (2007), shoes, wire, washers, and screws, 18 x 18 x 19 inches. Photo by Jason Mandella
    “Ashley Bickerton” (2016), shoes, wire, and screws on a metal stand, 63.5 x 16 x 15.5 inches. Photo by Joerg Lohse
    “Street Dragon II” (2018), shoes, wire, and screws, 19.5 x 15.5 x 10.25 inches. Photo by Joerg Lohse
    “Shine” (2007), shoes, wire, washers, screws, and shelf 16 x 15 x 16 inches. Photo by Jason Mandella
    “Fly Girl” (2016), shoes, wire, and screws on a metal stand, 65.5 x 15.5 x 15.5 inches. Photo by Joerg Lohse
    “Sole Brother 2” (2007), shoes, wire, washers, and screws, 19.5 x 16.75 x 18 inches. Photo by Jason Mandella

    #found objects
    #masks
    #sculpture
    #shoes

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    Shantell Martin Designs Two Decks of Playing Cards with Her Signature Black-and-White Doodles

    
    Art
    Design
    Illustration

    #cards
    #games

    May 4, 2021
    Grace Ebert

    All images via Theory11
    The Whitney Museum and luxury playing-card company Theory11 are teaming up on a series of artist-designed decks, and their first edition deals in British artist Shantell Martin (previously). Titled “LINE,” the same combination of Martin’s signature patchwork doodles and affirmational messages inscribe the dual deck, which is available in both a black and a white version. The line drawings are mostly monochromatic with the exception of bursts of color on the joker and face cards, which feature mirrored characters encircled by words like “wisdom” and “joy.”
    Each deck is printed on FSC-certified paper with vegetable inks and starch laminates, and the cards are canvas textured and blind embossed. Both the black and white versions launched yesterday and are available from Theory11 and the Whitney Shop. You also might enjoy UNO’s sold-out collaboration with Nina Chanel Abney and this revolutionary deck from Studio LO. (via Artnet)

    #cards
    #games

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    Miniature Scenes, Cross-Stitch Flowers, and Works from Art History Nestle into Eva Krbdk’s Tiny Tattoos

    
    Art
    Illustration

    #animals
    #art history
    #cross-stitch
    #landscapes
    #nature
    #tattoos

    May 3, 2021
    Grace Ebert

    All images © Havva Karabudak, shared with permission
    Havva Karabudak, who works as Eva Krbdk, thrives on inking minuscule details. Focusing on innumerable lines and dot work, the Turkish tattoo artist (previously) illustrates textured florals in cross-stitch, realistic portraits of animals, and micro-paintings in the likes of van Gogh, Magritte, and Fornasetti. Many of the vivid renderings are small enough to fit into a perfectly round circle or a skinny stretch of a client’s upper arm.
    Karabudak’s background coalesces in her tattoos, including her formal education at the Fine Arts Academy of Ankara in Turkey and her love of textiles. “It’s pretty customary for young women to learn (embroidery) from their grandmothers in Turkey,” a statement about her work says. “As a result, tiny cross-stitch patterns were among the first tattooing styles that Eva embraced.”
    Karabudak just opened her studio Atelier Eva in Brooklyn, and although she’s currently booked, you can watch for openings on Instagram.

    #animals
    #art history
    #cross-stitch
    #landscapes
    #nature
    #tattoos

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