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Art Photography

Digitally Altered Portraits Superimposed with Flowers, Antique Patterns, and Wildlife Illustrations by Tawny Chatmon

September 21, 2018

Kate Sierzputowski

Maryland-based artist Tawny Chatmon combines traditional portraiture with digital collage, layering elements of antique patterns, vintage botanicals, and wildlife illustrations onto images of her children and other relatives. Once printed, Chatmon often revisits the digital textures she has superimposed, physically adding layers of gold ornamental elements or paint.

“My camera remains my primary tool of communication, while my constant exploration of diverse ways of expression moves me to add several different layers using a variety of mediums,” explains Chatmon to Colossal, “After a portrait session is complete, I typically digitally manipulate my portraits and unite them with other photographic components to achieve a work that is a new expression—often lending to them the eyes of someone their elder and more wise, and almost always exaggerating their hair.”

Her children not only serve as her models, but also her greatest source of inspiration while making work. Chatmon further explains that the layered portraits are driven by her “desire to contribute something important to a world I want my children to thrive in.” The artist’s work will be on display as part of The Art of Blackness Exhibition in Chicago, which opens at Block 37 on October 12, 2018. You can see more of her work on her website and Instagram. (via Beautiful Bizarre Magazine)

 

 



Animation

Hoards of Anonymous Figures React to a User-Controlled Character in an Interactive World by Universal Everything

September 18, 2018

Laura Staugaitis

UK design studio Universal Everything (previously) is in the midst of crafting an experimental open-world environment called Emergence, available in a preview film. In Emergence, the glowing yellow user-controlled character is surrounded by crowds of anonymous people who react to the character’s movements. The scenes are set in a variety of abstracted but familiar environments like city streets and under water. Presumably, the viewer will be able to control the figure in a VR or immersive gallery setting. Universal Everything explains the experience on their Vimeo page:

Emergence is an open-world environment, expressing the primal feeling of maintaining your individual identity whilst being part of a crowd. As you immerse yourself in a crowd of thousands, shafts of light beckon you closer. As you touch the light, the environment – its atmosphere, its gravity and the choreography of the crowd – transform in powerful ways, continually challenging your perception.

Universal Everything was founded by Matt Pyke, who leads a variety of digital artists, animators, musicians, and developers in creating a wide variety of digital projects. Another notable project from the studio is a Sydney Opera House’s Living Mural collaboration, where digital murals from artists around the world were projected on to the Opera House’s iconic nesting rooflines. You can see more from Universal Everything on Vimeo and Instagram, and the studio also has a solo exhibition of their work on view until February 2019 at Borusan Contemporary in Istanbul. (via The Awesomer)

 

 



Art

Humorous Digital Collages by Les Creatonautes Give Edible Objects Animalistic Additions

September 14, 2018

Kate Sierzputowski

A garlic-bodied bird, alligator-shaped brie, and winged salt shaker have all come out of the imaginative mind of French creative agency Les Creatonautes. This past year they have created a series of digital collages that combine sporting goods, animals, and edible objects. The project is a subtle gesture to our changing world, showcasing the evolution of society through absurd combinations and impractical animals.

“The world is in permanent change, it is in a transformation,” said Olivier Grossmann of Les Creatonautes to Colossal. “This transformation, often invisible, sometimes unexpected, is inevitable. Living organisms, landscapes, technologies, societies: everything changes constantly, at different rates. From this observation we decided to transform the world in our own way.”

The group started the project on January 1st, 2018 and has been publishing “transformations” each day since. You can see more of the oddball explorations on their Instagram.

 

 



Art

Colorful Brushstrokes Digitally Sculpted into Figural Compositions by Matthew Stone

September 10, 2018

Kate Sierzputowski

“Being Reliant, Not Being Reliant, Being Not Reliant” (2016), Digital print and acrylic on linen, 71 x 47 inches

“Being Reliant, Not Being Reliant, Being Not Reliant” (2016), Digital print and acrylic on linen, 71 x 47 inches

Matthew Stone explores the figure through a combination of painting and digital manipulation, presenting segmented busts and bodies splayed out in abstracted three-dimensional spaces. After painting a series of individual brushstrokes, Stone photographs the gestures and sculpts them around digital figures using several software programs. The wrapped figures hover, twist, and contort above embedded shadows which give the illusion of depth. The final scenes are then printed onto raw linen. These digital paintings were presented as part of Stone’s recent solo exhibition Healing With Wounds at Somerset House in London, which closed in late August. You can see more of his work on his website and Instagram.

“Noble Intentions”, Digital print and acrylic on linen, 47 x 35 inches

“Noble Intentions”, Digital print and acrylic on linen, 47 x 35 inches

“Fear of Not Being Needed” (2016), Digital print and acrylic on linen, 98 x 130 inches

“Fear of Not Being Needed” (2016), Digital print and acrylic on linen, 98 x 130 inches

“Freedom/Optimism” (2016), Digital print and acrylic on linen, 47 x 35 inches

“Freedom/Optimism” (2016), Digital print and acrylic on linen, 47 x 35 inches

“Healing With Wounds” (2016), Digital print and acrylic on linen, 47 x 35 inches

“Healing With Wounds” (2016), Digital print and acrylic on linen, 47 x 35 inches

“Don’t Leave Me” (2016), Digital print and acrylic on linen, 63 x 47 inches

“Don’t Leave Me” (2016), Digital print and acrylic on linen, 63 x 47 inches

“Accusatory (Upper Chest)” (2016), Digital print and acrylic on linen, 71 x 47 inches

“Accusatory (Upper Chest)” (2016), Digital print and acrylic on linen, 71 x 47 inches

 

 



Art

Pixelated Ceramics by Toshiya Masuda Bring a Tactile Experience to Digital Images

August 28, 2018

Kate Sierzputowski

Japanese artist Toshiya Masuda builds pixelated objects out of clay, piecing together sculptural tennis shoes, fried eggs, and baseballs that look as if they have been pulled directly from a video game. By designing his works to appear digital, Masuda provides a physical quality to computer or television-based images. The combination of ceramics and digitized objects allows the artist to blur the line between what is real and virtual, an increasingly common experience in our present age. You can learn more about his studio practice in the video by Keiko Art International below. (via Kottke)

 

 



Art

The Haze: A New Immersive Experience by teamLab Places Visitors at the Center of a Swirling Vortex

August 27, 2018

Kate Sierzputowski

The Haze is a new immersive digital art installation from Japanese collective teamLab (previously) which situates guests at the center of a light-based vortex. The work uses light, fog, and sound to wrap guests in a mesmerizing cacophony of swirling spotlights which are reflected by a mirrored floor. A similar experience is created in the work Light Vortex II, which uses the same elements to choreograph an entirely different light show.

TeamLab recently opened Borderless, a 100,000 square feet museum dedicated to their digital installations in Tokyo. You can view more videos documenting the group’s projection-based works on their website and Vimeo.

 

 



Animation

Billions of Color Changing Particles Create Amorphous Waves in a New Art Film by Maxim Zhestkov 

August 14, 2018

Kate Sierzputowski

Volumes is a new 4K experimental art film by artist and director Maxim Zhestkov (previously) which explores the laws of nature through the interactions of billions of spherical particles. As the digitally produced elements collide they transform into a series of brilliant colors, morphing from black and grey orbs to pink, blue, and white balls and back again. The spheres combine to create sweeping waves that disperse and meld back together in large, amorphous forms. You can view more of the director’s projects on Vimeo, Instagram, and Behance.

 

 

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