From the smallest details expressed on canvas to the cracked facade of a multi-story building, Dutch artist Collin van der Sluijs is comfortable investigating what he refers to as “personal pleasures and struggles in daily life.” Working without sketches or notes, the artist dives into each artwork with spray paint, acrylics, and ink as ideas take hold and images slowly emerge. He frequently examines themes of the natural world such as the cycle of life, the depictions of various species of birds, and the psychology of beings both human and animalistic.
Van der Sluijs was most recently in Chicago where he completed a tremendous mural in the south loop as part of the Wabash Arts Corridor that depicts two endangered Illinois birds amongst an explosion of blooms. He also opened his first solo show in the U.S. titled “Luctor Et Emergo” at Vertical Gallery, featuring a wide range of paintings and drawings. You can follow more of his work on Flickr.
Artist Sara Landeta (previously) continues to use the back of used medicine packaging as a canvas for depictions of various birds. The artist most recently created a series of 120 paintings for her exhibition titled “Medicine as Metaphor” at gallery 6mas1 last year. From the Jealous Curator about the poignancy of the series:
The project includes a collection of 120 boxes of drugs that have been consumed by different patients to overcome their illnesses. All boxes are illustrated inside with a broad classification of birds from different families, being the only animal that although it gives it a meaning of freedom, because it is the only one able to connect with the earth and the sky, is also one of the main animals in captivity. This juxtaposition of the natural and the synthetic interprets the patient as a captive animal, and the bird as its metaphor.
Draw a collection of birds inside these boxes holding a single reflection ; l will learn to be birds in captivity, but they are wanting to fly, and that is what keeps them alive.
You can see more of Landeta’s paintings here. (via The Jealous Curator)
Esther van Hulsen at work on an octopus drawing using 95 million-year-old ink. Photo by Stian Steinsli
Photo of the fossil on the left by Hans Arne Nakrem, photo of the powder on the right by Esther van Hulsen.
Image of the completed octopus ink drawing. Photo by Esther van Hulsen
Dutch wildlife artist Esther van Hulsen was recently given an assignment unlike her typical drawings of birds and mammals from life—a chance to draw a prehistoric octopus 95 million years after its death. Paleontologist Jørn Hurum supplied Hulsen with ink extracted from a fossil found in Lebanon in 2009, received as a gift from the PalVenn Museum in 2014. After several millennia Hulson was surprised to find that the color had remained so vibrant, preserved all of this time in the cephalopod’s ink sac. “Knowing that this animal has used this ink to survive is absolutely amazing,” said van Hulsen of the prehistoric ink.
The idea to make such a drawing came from the story of Mary Anning, an English paleontologist and fossil collector who made a similar drawing from a fossil’s ink sac in the 1800s. Hulsen’s replication of the octopus now hangs beside its material origin in the Natural History Museum in Oslo. (via MetaFilter)
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.
Many of her pieces are available as prints and other objects on Society6. You can see more of Wronska’s works and pieces in progress on her Instagram.
All photos by bernhard strauss, © VG bild-kunst, bonn 2016
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