We’ve long enjoyed the work of painter and architect Maja Wronska (previously) who depicts unique vantages of architectural sites through detailed watercolors. Not only does Wrońska capture these buildings in their entirety, but also focuses on the specific details of their construction and environment such as chandeliers that hang within an ancient church, or the pigeons found circling its exterior. These elements are all produced with an eye for how to capture the character of a space rather than just its aesthetic, imbuing her paintings with the rich history found within each location.
Painter Peter Zimmermann has moved his colorful hues from canvas to floor in his latest exhibition “Freiburg School,” at the Museum für Neue Kunst in Freiburg, Germany. The installation is composed of bright blue, pink, and peach resin that appears like a candy-colored lagoon beneath the feet of museum-goers. This resin covers more than 1,400 square feet, layered in fluid patterns that subtly reflect Zimmerman’s abstract works on the walls. These pieces are also multi-layered— oil paintings that symbolize digital media motifs, a theme that has begun to often influence contemporary painting.
“When I realized my first floor piece about eight years ago, it represented an attempt to break with the shiny surface of the synthetic resin works,” said Zimmermann in a conversation with German journalist Till Briegleb. “The fact that visitors actually walk on it necessarily means that the surface will get scratched, destroyed. It develops a kind of patina as a result. Trainers leave scuff marks, high heels leave scratches. All of which are all interesting relicts…. I think that these traces correspond to the brush strokes of the oil paintings.”
Zimmermann was born in 1965 in Freiburg, and “Freiburg School” is his first large solo exhibition that has been exhibited in his hometown. You can sit, step, and stare into his immersive installation through June 19th, 2016. (via Designboom)
“NYC #19, oil on panel, 30 x 30 inches, all images via Jeremy Mann
Jeremy Mann (previously here and here) paints cityscapes set during the low-lit moments of the early morning or evening, just when natural light has begun to creep in or fade from a city’s car-lined streets. Using oil paints, Mann applies and wipes away areas of the canvas to recreate these hazy environments, adding layers of paint back on top of the slightly smeared works with more detailed strokes. This layered effects makes the works appear like double exposed images, two scenes gently blurring into one.
Mann’s work will be featured in an upcoming June 3 exhibition at John Pence Gallery in San Francisco which will run through July 9, 2016. You can view more of his cityscapes on his Instagram and Facebook.
“Market St., Midnight” (2016), oil on panel, 36 x 36 inches
“The Geary St. Storm” (2016), oil on panel, 48 x 48 inches
“Cityscape – Composed Form Study 13,” oil on panel, 6 x 6 in.
“NYC #20,” oil on panel, 48 x 48 inches.
“NYC #22,” oil on panel, 36 x 36 inches
“Morning Downpour on Market Street” (2016), oil on panel, 25 x 25 inches
This new music video for composer Ralf Hildenbeutel's track Disco was created from over 1,200 individually hand-painted frames. Directed by Boris Seewald, the clip uses an animation technique called rotoscoping to turn the real-life movements of dancers Althea Corlett and Simone Schmidt into a series of drawings and paintings to make each scene. Despite the wild variety of mediums and techniques used in the hundreds of sketches, the frame to frame continuity almost serves to enhance and accentuate the motions of the dancers.
Rotoscoping is a form of animation where live video is translated into hand-drawn animation stills with the help of a projector or transparencies. Some more notable examples from pop culture include several scenes from both of Disney’s Snow White and Peter Pan, or the 1984 music video for Ah Ha’s Take On Me.
Disco was animated by Boris, Mina, and Mihwa Seewald, and filmed by Georg Simbeni. (via Vimeo Staff Picks)
Brooklyn-based painter Iris Scott (previously) eschews brushes and palette knives in favor of using the most traditional art tools of all time: her fingers. Her color-saturated canvases of thick oil paint capture shaking wet dogs, dreamy urban cityscapes, and serene outdoor scenes. “There’s nothing between me and the paint, I feel all the tiny nuances,” says Scott. “I can manipulate thick paint with my fingers in ways brushes never could.” The physicality of using her digits brings a unique sense of motion to each piece and when coupled with nearly 100 colors for a single artwork, it’s no surprise to discover how entrancing each canvas becomes.
The first trailer for Loving Vincent (previously) was just released and it promises stunning visuals in a novel format: the film was created from a staggering 12 oil paintings per second in styles inspired by the famous Dutch painter’s brushstrokes. The upcoming movie will detail the story of Van Gogh’s life leading up to the tumultuous time surrounding his death some 125 years ago. According to the filmmakers, over 100 painters have contributed frames to the ambitious feature-length film that is still in progress at their headquarters in Gdansk, Poland. The film is currently being produced by Oscar-winning studios BreakThru Films and Trademark Films, and you can follow their progress or even get involved yourself on their website. (via Devour)