Cataloging the tools once used for the very same purpose, Augustine Kofie creates collages that utilize file folders, index cards, and steno notepads from the ’50s through ’80s that were found while scouring the contents of Los Angeles estate sales. Kofie chooses to compile vintage materials from before the dawn of the digital age, a time when data took up physical space rather than gigabytes on an external hard drive.
The desire for collecting these specific paper forms comes from his obsession with historical forms of organization, the physical pen-to-paper process of keeping information tidy. After building collages from the papers in various colors and weights, he utilizes ballpoint pen, silkscreen, and acrylic ink to draw shapes and lines over top. These resulting collages have an architectural appearance, built forms with interlocking lines that mimic the precision of a building’s blueprint.
The Los Angeles-based artist merges his background in graffiti with interests in illustration and architecture to create work that references all three, focusing on form and line most intently in his compositions. Kofie’s solo exhibition “INVENTORY” will be on display at Jonathan LeVine Gallery in New York from November 21st through December 19th 2015.
English artist Ed Fairburn (previously) uses vintage road maps and star charts as canvases for drawn portraits. Cross-hatched patterns and shaded regions inside roads, borders, and rivers assimilate into the contours of faces, as if the images had always been secretly hidden in the map’s topography. “In his hands, both built infrastructure and natural phenomena echo the organic human form,” shares Mike Wright Gallery. “National highway systems become capillaries, and the tangle of Paris’ alleyways become the wrinkles that give the face history and individuality.”
Fairburn opens a new show of work alongside artist John Wentz today at Mike Wright in Denver.
Follow the daily adventures of Camp the pigeon on Instagram
In the summer of 2013, Chicago artist George Keaton and photographer Mariah Naella were preparing for their engagement party in Wisconsin when they made a seemingly insignificant discovery that would soon dramatically impact their life. Repairmen who were replacing old window frames in their apartment had quietly left something on their kitchen counter: a tiny egg. The workers had inadvertently destroyed a pigeon nest while fixing windows and randomly decided to salvage the egg.
The couple tells the Chicago Sun Times that in the process of discarding the egg outside, Naella realized something was moving inside of it. Within minutes—and to their great astonishment—it almost immediately began to hatch. Late that night the couple purchased a small syringe at Walgreens to use for feeding, and the next few weeks were dedicated to rearing a peppy little pigeon they named Camp.
Two months later, following advice from a wildlife expert, they decided Camp was large enough to release into the wild, but upon opening the window they discovered he was completely uninterested in leaving. Camp has since become accustomed to flying near their Lincoln Square home, and is free to come and go as he pleases, but has never traveled far and always returns home. The pigeon is now a part of the family, and has become a bit of a local celebrity whose daily adventures are shared on Instagram. He’s even spawned an entire line of prints, jewelry, and and shirts.
On learning about Camp’s story randomly through Instagram, Belgian painter Adele Renault realized she had a new muse. Renault is known for her large-scale photorealistic portraits of people and pigeons, and it wasn’t long before she began documenting the Chicago bird’s adventures in lockstep with Naella and Keaton. A selection of her giant oil on linen paintings depicting Camp during several stages of his life will be on view starting tomorrow at Havas Annex in Chicago. (via Colossal Submissions)
Miles to Empty, 2015, cardboard,19′ x 6’5″ x 4’9″ (All images by PD Rearick)
Shannon Goff was born in Detroit, a trigger for her lifelong interest in the evolution of transportation. Captivated by her grandfather’s 1979 Lincoln Continental Mark V, she had considered making the car many times, but shied away due its massive size. “Miles to Empty” brings this longtime dream to reality, a sculpture that is her most ambitious project to date. The work pays homage to her grandfather and hometown while dually reexamining themes inherent to the Motor City like the American obsessions of luxury and convenience.
Goff considers the work a translation and dimensional contour drawing rather than replica, as pieces like the floor of the vehicle are missing from the final work. Although the color also deviates from the original, Goff believes its stark quality fits the feel of the piece. “I had considered making it the color of my grandfather’s, but in the end I decided white was perfect,” said Goff. “It’s forlorn and forgotten, a ghost rider of sorts. It’s about memory and loss and is ultimately a memorial to my grandfather and to the city of Detroit.”
Goff received her BFA from the University of Michigan in 1996 before moving to Kyoto, Japan where she studied ceramics and calligraphy and worked as a woodblock printer. Since receiving her MFA at Cranbook Academy of Art in 2003 she has taught at the School of the Art Institute of Chicago, Rhode Island School of Design, Cranbook, and currently at Penn State University’s School of Visual Arts where she teaches alongside her husband Tom Lauerman. “Miles to Empty” will be on display at Susanne Hilberry Gallery until November 14. (via designboom)
Ellen Jewett (previously) effortlessly blends animals with elements from their environments, creating ceramic pieces that often balance unexpected species together in a singular piece. Each work is highly detailed—flowers, leaves, and vines wrapping themselves around animals from coyotes to chameleons.
By focusing on negative spaces within the animals’ bodies, Jewett strips away the weight of her objects, a quality that is usually inextricably linked to the medium of sculpture. She constructs her ceramic pieces using an additive technique, beginning with the innermost parts of the sculptures and layering outward. As periphery components of the animals’ surroundings are added to the piece, a narrative begins to form. These additional pieces Jewett describes as being beautiful, grotesque, or fantastical and add to the object’s exploration of domestication, death, growth, visibility, and wildness.
Jewett’s materials are just as important as her process—only using clay, paints, finishes, and glazes that are free from toxic properties. In addition to being toxic free, she also attempts to source locally and naturally whenever possible. You can keep updated on the Canadian artist’s new work on her Facebook page, and several new pieces are currently available.
Artist Blu (previously) recently finished work on this staggering mural in Italy depicting a timeline of natural history from the tiniest single-cell creatures at the bottom, through the evolution of dinosaurs and mammals, up to the age of humans. The rainbow-hued evolutionary path eventually crumbles under its own weight, devoid of color, with images of industry and war. You can see a few more views on StreetArtNews.