One day while completing an oil painting of a field artist Iris Scott needed to make a few quick adjustments to some yellow flowers but every brush at her disposal was stained a deep dark blue. Not wanting to stop and wash the brushes she decided to make a few quick touchups with her fingers, a small change to her process that would immediately change the course of her career. Wearing a pair of surgical gloves Scott now paints exclusively with her fingers bringing an impressionistic sense of color and texture to all of her paintings. The artist has a number of original works available on her website as well as prints over on Etsy, and here’s a quick video of her discussing her work on YouTube. (via gaks)
In her Real Life Models series 19-year-old Hungarian photographer Flora Borsi imagines what the models of contorted and skewed abstract paintings must have looked like if they were distorted in real life. Through some pretty hilarious photo manipulation Borsi examines the models for paintings by Kees van Dongen, Rudolf Hausner, and Picasso among others. The series is somewhat similar to photographer Eugenio Recuenco who re-imagined Picasso’s paintings as modern day fashion models. Several of Borsi’s works are now available as prints over on Saatchi Online.
Montreal-based visual artist Carine Khalife produced, directed, animated this music video for the 2011 track Blown Minded, off the album Shapeshifting by Young Galaxy. The entire clip is comprised of oil paint on glass photographed above from a camera. Khalife explains her process a bit more on her site:
Basically, my technique was to paint on a piece of glass fixed to a light box. I would paint on the glass with oil so that it wouldn’t dry, and I could play with it for hours. A camera, fixed overhead above the animation table and plugged in my computer, would capture my paintings frame by frame and create the animation using the software Stop Motion Pro (the aardman studio software). This process took place inside a dark room so that there wouldn’t be interference or changing lights on the paint. The single light source came from beneath the glass, revealing the textures and details of brushes movements.
I worked a lot with transparency. The more paint, the darker the image, and therefore the animation becomes about gesture, and the texture of brushstrokes; it’s a very physical, organic process. I based the number of frames per second (sometimes 8 sometimes 12) on the rhythm of the music. Everything is based on the rhythm. It was important for me, especially for the abstract parts, that I was responding to the song conversationally; like a running dialogue. I think I’ve listened to the song more than a thousand times. And because i would often listen to it and focus solely on drums, voice, lyrics, or melody – I was still able to hear new things each time.
The film has screened in festivals around the world and Khalife won a Director of Photography award at the Salon International de la Luz. (via vimeo)
Swiss artist Remo Lienhard (aka Wes21) has an imagination to kill for. His acrylic and spray paint works are explosively detailed and often depict a sort of dystopian fusion of people and the natural world. Though despite the grittiness and abundance of detail found in each of his works it’s clear he also possesses a keen sense of humor. Lienhard belongs to a collective of graffiti artists and illustrators called Schwarzmaler where you can find much more of his street art and other works. Also don’t miss him over on Facebook. (via street art utopia which has a killer roundup of street art this month)
Update: Wes21 is represented by SOON where you can learn more about his work.
Behold the latest work from animator Jake Fried (previously) who works with layer after layer of ink, gouache, white-out and coffee to create deeply textured and truly psychedelic animated shorts. Fried lives and works in Boston where he is primarily known for his painting, but has recently begun focusing on these experimental animations he refers to has “moving paintings,” many more of which you can see on his website.
After graduating college Nashville-based artist Alex Hall found himself on an uncertain path, overwhelmed and unsure of what was going to happen next. In an attempt to visualize his emotions and inner turmoil he set about creating a series of surreal oil paintings titled Relativity depicting anonymous people in similar forms of free-fall and indecision. Just looking at these images I believe Hall has an extremely promising career ahead of him. All of his new works are currently available as giclee art prints, and if you own a gallery I might consider getting in touch with him.
Artist Jeremy Miranda lives and works in Salem, Massachusetts where he works with acrylic paint to create images influenced by nature, technology, and memory. Among my favorite of his works are his split level landscapes connected by ladders that depict hidden worlds just under the surface of the ocean. Miranda has original paintings and prints available through Etsy, Enormous Tiny Art, and Sebastian Foster. (via not shaking the grass)
Many painters working from photographic source material employ a wide variety of techniques to arrive at a final image. This will involve anything from loose sketching beforehand to complex grids, where a photograph is translated into paint box by box. Such is not the case with British painter Nathan Walsh who instead relies on elaborate drawings reminiscent of architectural blueprints before every committing paint to canvas. This deep reverence for the underpinning geometry and perspective gives each work a sense of life that might otherwise not be present in something created with the mechanical aid of a camera or software.
Walsh tells me his primary source materials are not photographs but pencil sketches drawn on-site, for example the Chicago pieces above began from over 100 drawings he then references in his studio. In this way he can easily alter the position and size of any particular element, a process he likens to “building a world from scratch”. Personally I think the process is more akin to building the entire world in his mind so he can better represent it later in his paintings, each of which takes up to 3-4 months to complete. Via his website:
I deal exclusively with the urban landscape and aim to present a painted world which in some ways resembles the world we live in. I am fascinated by the city, it’s visual complexity and constant state of flux. The act of painting is an attempt fix this information and give vision to our experience of living within it. [...] The work aims to create credible and convincing space which whilst making reference to our world displays it’s own distinct logic. This space is created through drawing, which I see as fundamental in establishing a world the viewer can engage with. Drawing allows me to make human pictorial decisions instead of relying on the mechanical eye of a camera or software package. This process is open ended and changes from one painting to the next. Whilst I employ a variety of perspectival strategies, these methods are not fixed or rigid in their application. Working with a box of pencils and an eraser I will start by establishing an horizon line on which I will place vanishing points to construct simple linear shapes which become subdivided into more complex arrangements.
You can see numerous final works at a much higher resolution, as well as initial drawings over on his website. Walsh will have work at the Changing Perspectives technology conference in Paris later this month, and is working on a solo show at Bernarducci Meisel Gallery in November.