Working from his studio in Alpine, Texas, artist Mark Lovejoy creates richly textured images of mixed paint, but although he’s somewhat secretive about his process, one thing is clear: they aren’t just photographs of mixed paint. The act of creating the color formations alone sounds more like an act of chemistry than art as he mixes resins, oils, diluents, waxes, and drying agents to create the gloppy textures you see here. Portions are then photographed, reworked, and reshot. In the end, we’re left staring at beautifully colorful images that exist somewhere between salt water taffy, Jackson Pollock paintings, and an alluring industrial accident. Whatever they are, Lovejoy is extremely proficient, cranking out several images each day which he shares on his website. Prints are available of every image. (via It’s Nice That)
Chicago-based artist Bruce Riley fills canvases with abstract organic forms made from layer after layer of dripped paint and poured resin. While looking at images of his work online, it’s difficult to grasp the depth and scale of each piece which can be penetrated by light from multiple angles, casting shadows deep into the artwork. Riley works using a number of experimental techniques, frequently incorporating mistakes and unexpected occurrences into the thick paintings that appear almost sculptural in nature. Filmmakers Jason Stanfield and Jordan Olshansky recently stopped by Riley’s studio and shot this brief studio visit. You can see more of his paintings on Flickr, and at Packer Schopf Gallery. (via Colossal Submissions)
When stopping to consider these masterful ceramic objects by artist by Matthew Chambers, a flood of familiar images came to mind as I tried to understand what I was looking at. The aperture of a camera, the protective shell of a curled up armadillo, ocean waves, bowls of pasta, or portals to other dimensions; all valid reactions to these hand-built ceramic vessels and sculptures that contain dozens of thin concentric layers.
For the last 8 years Chambers has been working from a 215 square foot studio in Newport on the Isle of Wight where he creates each piece without the aid of sketches or designs, preferring to experiment as he works. Each “layer” is an individual section thrown on a potter’s wheel which he then assembles with other layers to make a solid sculpture. How something so precisely geometric can be formed from clay by hand is nothing short of astounding.
Chambers most recently had work at New Craftsman Gallery. You can also read a studio visit from Ceramic Arts Daily, and a more in-depth interview about his process on Ideas in the Making. (via Rhubarbes, Contemporist)
You can safely file this video titled Regular Division from artist Joe Hamilton under I don’t know what it is but I like it. One way to explain it would be a collaged cinematic journey through ornate botanical gardens … augmented with famous oil paintings. Or something? Intrigued, I reached out to Hamilton and he shares a bit via email:
Regular Division is a collaged video loop that was shot and digitally composed on location in Europe, Asia and the Middle East as part of a new series of works looking at landscape. The series responds to the impact of the digital technologies on our representation of landscape and the effect of this on our relationship with landscape.
Regular Division, the first in this series of works, features a spiral of intermingled scenes filmed from inside a number of green houses and domes. An artificial paradise of foliage under a canopy of gridded glass. The video also features high resolution images of brush strokes taken from classical oil paintings bridging a connection to the traditional medium that has played such an important role in the representation of landscape in the past.
The piece is currently on view at Pablo’s Birthday Gallery in New York as part of the group show ‘Like New Landscape’ curated by Front Company. (via Booooooom)
For a photographer living in a major city filled with iconic architecture, museums, and myriad tourist destinations, the struggle to capture an authentic image is great. This was the exact situation photographer Michael Wolf found himself in after moving to Paris from Hong Kong in 2008. Surrounded in a city filled with sights that could easily be interpreted as cliché, Wolf pointed his camera away from the recognizable landmarks and instead focused on the dense rooftops surrounding the city. Packed with stout chimneys, tv antennas, graffiti, and numerous geometric forms, these shots present a strange abstracted view of a usually recognizable place.
Wolf’s “Paris Abstract” series is currently on view at Robert Koch Gallery in San Francisco through September 6, 2014. (via Juxtapoz)
Artist Samantha Keely Smith paints abstract oceanic landscapes that are at once menacing and serene, a clash of light and color that she refers to as “internal landscapes.” Using oil paint, enamel, and shellac, Smith uses an additive and subtractive process by partially destroying her progress several times before completion. This cyclical process, much like the timeless crash of ocean tides against the shore, adds an additional level of texture to her work. She shares in a 2013 interview with NeverLazy Magazine:
My images are not at all real places or even inspired by real places. They are emotional and psychological places. Internal landscapes, if you will. The tidal pull and power of the ocean makes sense to me in terms of expressing these things, and I think that is why some of the work has a feel of water about it. My work speaks of things that are timeless, and I think that for most of us the ocean represents something timeless.
Currently based in New York, Smith generally doesn’t work with galleries but instead interacts directly with collectors. You can see more recent work on Tumblr and Facebook. (via My Modern Met, Incomplete)
While Dutch artist Joris Kuipers spent years studying traditional painting and fine art techniques at both the Arnhem Academy and the Frank Mohr Institute in Groningen, his installations fly in the face of anything traditional. While borrowing from ideas rooted in expressionism as far as the application of paint and use of color, the artist constructs large-scale installations that spiral and twist off the walls, blurring the lines between painting and sculpture.
Two of his most recent works shown here were installed at Galerie Jaap Sleper in Utrecht and Het Plafond in Rotterdam. The artworks are made from suspended and raised components of depron foam coated with acrylic paint, appearing like a storm of whirling clouds or maybe flowers. I really hope he continues in this direction. (via saatchi online)