Architect and digital artist Laurent Rosset creates sweeping photographic landscapes the seem to curl upward into infinity like an enormous wave that obliterates the sky. Rosset uses much of his own photography to create each image and enjoys discovering how even slight manipulations can vastly change the composition or meaning of a photograph. You can see more of his work on Instagram, and if you liked this also check out Aydin Buyuktas. (via Colossal Submissions)
DREAMS-Crocodile, 2013. Copper & paint, 120×46×120 cm. Photo by Zou Shengwu.
Beijing-based artist Wang Ruilin (previously) is known for his gentle depictions of animals both real and fictional that appear to carry the heavy weight of mountains, oceans, and entire miniature worlds on their backs. The smooth and sinuous copper sculptures borrow from elements of Eastern classical painting merged with Ruilin’s personal experiences and interpretations of his dreams. The artist frequently shares a mix of old and new artworks on Behance, and you can see more on his website.
DREAMS-Crocodile, studio view.
DREAMS-FAWN, 2015. Copper & paint.
DREAMS-FAWN (small size), 2015. Copper & paint.
DREAMS-Mountain&Sea No.2, 2013. Copper & paint.
DREAMS-Mountain & Sea No.1, detail.
DREAMS-Mountain & Sea No.1, detail.
DREAMS-Mountain & Sea No.1, 2013. Copper and paint.
Horse.Play – No.3, 2011. 120×95×35 cm, copper and paint. Photo by Zou Shengwu.
Horse.Play – No.3, detail.
Migration | oil on wood panel | 30″ x 30″
The oil paintings of Joshua Flint look like depictions of memories when one tries too hard to access the faded thoughts—worn corners, blurred faces, and transposed scenes that don’t quite make sense. Each work has a familiar element that seems to be cast in a dark and foreboding haze like Sandcastles, a dark painting that disguises whether the included children are building or destroying the miniature city that lies before them.
“There is a dynamic interplay between experience and interpretation,” says Flint about his work. “What is remembered isn’t necessarily descriptive of the actual event. Once the experience has passed through our emotional filter we assign meaning to it, changing the actualities. My paintings explore that place in-between a direct translation and the abstract of emotion.”
Flint has a current exhibition titled “The World Between” at Sumter County Gallery of Art in Sumter, South Carolina which continues until January 8, 2016. You can see more of his oil paintings and in-process sketches on his Instagram here. (via Booooooom)
Memory Palace | oil on wood panel | 24″ x 24″
The Banquet | oil on canvas | 48″ x 60″
They Feed the Earth | Oil on Canvas | 48″ x 48″
Mapping a Galaxy | oil on wood panel | 30″ x 30″
Bright Reflections | Oil on Wood | 24″ x 24″
The Wide Arena of Air | oil on wood panel | 36″ x 36″
Sandcastles | oil on canvas | 48″ x 48″
Turning oceans on their sides and beaches into XXL stadiums, graphic designer Jati Putra distorts images through a process of digital bending and layering that confuses the senses as to where is up or down. Working with images that capture large-scale environments, Putra transposes ocean scenes with images of space—transporting Santa Monica pier to the outer layers of earth’s atmosphere and a Greek-columned building high above the clouds. You can see more of the Indonesia-based designer’s land-bending digital images on his Instagram. (via Designboom)
Tapping into unlived memories, Kylli Sparre (previously here and here) produces conceptual photographs that seem to be pulled from dark fairytales and otherworldly settings. The images are always focused on a lone woman in a dramatically staged pose, a reference to her past as a professionally trained ballet dancer. The environment surrounding the women is often hazy— barren landscapes that seem to isolate the women in both space and time.
Sparre’s work was featured at this year’s Art The Hague art fair in Amsterdam by Qlick Editions. You can see more of the Estonia-based artist’s thoughtfully composed images on her Facebook and portfolio site.
Ellen Jewett (previously) effortlessly blends animals with elements from their environments, creating ceramic pieces that often balance unexpected species together in a singular piece. Each work is highly detailed—flowers, leaves, and vines wrapping themselves around animals from coyotes to chameleons.
By focusing on negative spaces within the animals’ bodies, Jewett strips away the weight of her objects, a quality that is usually inextricably linked to the medium of sculpture. She constructs her ceramic pieces using an additive technique, beginning with the innermost parts of the sculptures and layering outward. As periphery components of the animals’ surroundings are added to the piece, a narrative begins to form. These additional pieces Jewett describes as being beautiful, grotesque, or fantastical and add to the object’s exploration of domestication, death, growth, visibility, and wildness.
Jewett’s materials are just as important as her process—only using clay, paints, finishes, and glazes that are free from toxic properties. In addition to being toxic free, she also attempts to source locally and naturally whenever possible. You can keep updated on the Canadian artist’s new work on her Facebook page, and several new pieces are currently available.