Using carefully cut fragments of printed skin from the photographs of celebrities in popular magazines, artist David Adey creates elaborate, pinned collages reminiscent of the most complex entomological displays. In some instances he reconstructs the original photos using component pieces cut into myriad geometric shapes and symbols, each placed perfectly on the canvas with a single pin. Other times he creates giant whirling textures as with his piece Swarm, a process that can take up to 200-300 hours. The patience required for all of this simply boggles the mind. Adley currently has a solo show at the University of Nevada, Las Vegas. (via lustik)
This blog is no stranger to stereographicprojections, but I’ve never seen anything quite like this. These wonderful aerial collages using photographs shot from atop electric towers, cranes, high rise buildings and bridges are by Netherlands-based photographer Wouter van Buuren. Captured in locations across the Netherlands, China, and New York, the projections condense panoramic horizons into compact worlds that at times look like giant glass marbles. Click the images above to see the landscapes much larger, and see more work in his portfolio. Wouter just opened a solo show at Witzenhausen Gallery in Amsterdam through February 4.
Artist Cassanda C. Jones has just completed a new series where she meticulously arranges long-exposure photographs of stormy skies, using small fragments of lightning strikes to form line drawings of electrified rabbits and circles. The works are yet to be titled, but will be available as large format ink jet prints in editions of two. All images courtesy the artist and Eli Ridgway Gallery, San Francisco.
I’m really enjoying these vertically sliced portraits by Amanda Clyne who uses images from fashion magazines as a starting point for a rather involved process, that I’ll let her explain in her own words.
I begin my process by culling images from fashion magazines. Cropping the image into a portrait, I re-print the image on to a surface to which the printing ink does not adhere, so the image remains wet. I photograph the print as the fluid image morphs and dissolves over time. I then compose a new image from fragments of these photographs—each image each is comprised of slices of the image at various stages of dissolution. Once I have resolved the final composition, I project the basic outlines of the image onto a canvas, and use a print-out of my composition as a painting reference. Each fragment is taped off and painted separately. Because of the narrow width of the fragments (some are less than 1/4 inch wide), I usually paint every third fragment, then while I wait for those fragments to dry, I paint alternating fragments on a different painting. Some paintings require three or four rounds of painting, so I work on several paintings at once.
The results are really quite striking. Clyne will have three new works on display at Art Toronto at the end of October. Thanks Amanda for sharing your work with Colossal!
Just discovered these fun collages and illustrations by Moscow-based artist Philipp Igumnov. He strikes an intriguing balance in his work with many pieces being laugh-out-loud ridiculous while others are filled with a sort of sad, dreamlike melancholy. Whatever he’s doing, it works, and I found myself sad when I reached the end of his gallery so quickly.