During a residency this spring at La Maison Verte, a house affiliated with Jardin Botanique in Marnay-sur-Seine, France, artist Jenine Shereos (previously) created a series of ephemeral installations using local flowers. Inspired by her long daily walks in the village and gardens, the Boston-based artist tells Colossal, “I was keenly aware of the continual shift of the different blooms of flowers all around me. In the beautiful old house where I stayed, there was a small room adjacent to my bedroom that felt like a kind of liminal in-between space, or a dream space. I started to envision the different ways these flowers could transform the room.”
Shereos normally creates time-intensive work, and she describes the fleeting nature of these installations as a refreshing departure: “From the time I picked the flowers, I had only a few hours to install and photograph the work before the flowers would begin to fade… There was something magical about the continual transformation of the space. I left each installation up for one or two days, and would observe and photograph the way that the flowers wilted.”
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The Yiwu International Trade Market in China is the world’s largest wholesale market, stretching nearly five miles and containing over 75,000 individual vendors. Chinese-American film director Jessica Kingdon peeks into the daily lives of the market’s workers in her observational documentary Commodity City, exploring the subtle interactions that occur amongst hoards of dolls, flowers, neon signs, clocks, and other consumer goods.
The work is filmed in long, static shots, mirroring the days each vendor spends inside the consumer metropolis. Commodity City has played in over fifty film festivals, and was shortlisted for the 2017 Cinema Eye Honors. The Brooklyn-based director received her BA in Film Studies from Columbia University and her MA in Media Studies from The New School. In 2017, she was named one of 25 New Faces of Independent Film by Filmmaker Magazine. You can see more of the short films Kingdon has produced and directed on her website and Vimeo. (via Vimeo Staff Picks)
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For a recent commission from indie record label Albert’s Favourites, London-based designer Tim Easley created an intricate circuitboard completely out of plasticine clay. The finished work measures approximately 20 inches square (50 x 50 cm) and took the artist about 80 hours to complete. He then photographed the clay circuitboard with birds-eye and angled aerial views to create the final album artwork.
Easley created the project for the London-based electronic music duo Modified Man. He describes the work, which envisions an abstracted future perspective on today’s technology, on Behance:
Easley created the project for the London-based electronic music duo Modified Man.He describes the work, which envisions an abstracted future perspective on today’s technology, on Behance: “The idea behind the cover was how the modified men of the future may make artwork out of ancient circuit boards, not quite understanding what they were for because of their crude appearance.”
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Self-taught Gabonese photographer Yannis Davy Guibinga is known for portraits that highlight the diversity of cultures and identities in the African diaspora. His works are often richly hued, with subjects positioned against bright gradient backgrounds or adorned in warm tones.
In his project The Darkest Colour however, Guibinga moves away from his multi-colored photo shoots to focus entirely on the color black and its relationship to darkness, mourning, and death. The series is set in front of a matte black background and features two nude models whose skin has also been painted black. The works seek to unpack the negative aspects of the both the color and its symbolism.
“Black is generally the colour associated with tragedy, death, and mourning, and the act of passing away is considered to be a tragedy in many cultures,” Guibinga tells Colossal. “‘The Darkest Colour’ seeks to redefine association of black and death with tragedy and sadness by representing the act of passing away as more of a relaxing experience.”
The 22-year-old photographer is currently a student in professional photography at Marsan College in Montreal. You can see more of his portraits, like his series 2050 which explores the future of fashion from a black woman’s perspective, on his website and Instagram. (via WideWalls)
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The Second Annual Nuart Aberdeen Festival Activates the Scottish Town With Installations Inspired by National and Regional Themes
It was 2002 when an international group of street art and electronic music enthusiasts organized the first Nuart Festival in Norway’s oil capital, Stavanger. The idea was to create a secondary event for their music program in order to introduce some of the most interesting artists of the underground street art movement. Keeping their concept simple yet original, the festival presented an annual platform for national and international artists who operated outside of the traditional art establishment, both indoors and outdoors, to stimulate conversation that would challenge the notions of what art is, and what it can be.
It wasn’t long before the visual part of the project continued on its own and grew into what’s now widely considered to be the world’s leading celebration of street art among its peers. It was around the 15th year of the festival when founder and director Martyn Reed and his team were approached by the city of Aberdeen, Scotland with an idea to develop a similar project in their own town. After years of rejecting similar offers, the team felt a strong connection and similarities between the two oil industry-dependent cities, and in 2017 the first edition of Nuart Aberdeen (previously) was introduced to the public.
The 2nd edition of this festival was held only a few weeks ago, and once again brought the Granite City to the spotlight of the international urban and street art scene. Nuart Aberdeen invited well-established artists who first started their careers at Nuart in Stavanger, such as Bordalo II and Ernest Zacharevic, which helped introduce a wide range and vibrancy of contemporary street art to the young festival. Working with local themes and subjects, but within their individual visual languages and mediums, the international line-up of artists produced an impressive series of public murals, installations, and interventions, which brightened up the daily routines of locals, and provided a new attraction for the festival’s visitors.
Addressing themes like the relationship between UK and Scotland (Hyuro), regional history and legends (Bordalo II, Milu Correch, Nimi & RH74, Phlegm), or referring to local specifics such as the lively seagull population (Conzo & Globel; Ernest Zacharevic or Snik), the public works covered topics that locals could easily identify with and engage. And while these pieces were being created on the streets and alleys of the Grey City, selected group of academics were discussing and presenting the past, current, and possible future state of the movement, in the presence of local and international enthusiasts, fans, and members of the creative community.
Always highlighting the activism side of public art, this year’s edition included a project with Amnesty International, presenting their project in support of women human rights defenders in the UK. For this part of the project the team joined forces with “craftivist” Carrie Reichardt who designed an elaborate ceramic mosaic that celebrates Scotland’s woman human rights defenders and the Suffragette movement. The London-based contemporary ceramicist also created “We are Witches” and “Trailblazing Women of Aberdeen,” borrowing the aesthetics of traditional stain glass windows. She also helped create a public monument to local unsung heroes which was fully designed, cut, and installed by local volunteers under the stewardship of Reichardt.
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In this meta animation, animator and director Ainslie Henderson (previously) seamlessly transforms a demonstration of his stop motion practice into a film where his miniature puppets take over. The rag tag group of figures break off from Henderson’s narrative to form a slapdash electronic band, utilizing scraps from his workbench to construct instruments from the same electric detritus used to form their own hands, faces, and feet.
“Puppet making often begins by just gathering stuff, like materials that I find attractive like wood, sticks, wire, leaves, flowers, petals, and bits of broken electronics,” says Henderson in the film. “[I use] things that have already had a life are lovely to have as puppets. And then from there you just start improvising. It’s like making music, you just see where it leads you.”
During the process of animating Henderson’s voiceover gradually fades and the viewer realizes his voice is simply a tape recording on screen, and has suddenly been repurposed as an instrument by his animated creations.
Stems has picked up numerous awards since 2016 including a BAFTA in Scotland. You can watch more of Henderson’s work on his Vimeo Channel.
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Abstract Shapes and Graffiti-Inspired Swirls Leap off the Wall in New Three-Dimensional Murals by Peeta
Italian artist Manuel de Rita a.k.a. Peeta (previously) transforms static structures by painting colorful cubes and abstracted cylindrical shapes to appear as if they are floating above the surface of the wall. This technique was derived from the traditional 3D lettering he grew up painting, and continues to evolve as he experiments with realistic objects, like the window that protrudes from the turquoise and purple work below.
“Initially, my works only realized the sculptural quality of individual letters, namely the ones that spelled out my own moniker Peeta,” he says in an artist statement. “Progressively, the fusion between traditional lettering and three dimensional style has given life to a unique kind of visual rhythm. Today, through my anamorphic works I redesign the volumes of any kind of surface involved, thus causing with my paintings a temporary interruption of normality by altering the perception of familiar contexts, and so raising a different understanding of spaces and, consequently, of reality as a whole.”
These large-scale explorations of multiple dimensions and eye-boggling optics have been painted globally, including Guangzhou, China; Barcelona, Spain; Mirano, Italy, and more. Recently the artist wrapped up an artist residency at Jardin Orange in Shenzhen, China. You can see more of Peeta’s work, including his paintings on canvas and sculptural objects, on his website and Instagram. (via Cross Connect Magazine)
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Editor's Picks: Street Art
Highlights below. For the full collection click here.