German artist Mimi Scholz creates painstakingly detailed compositions dripping with pop. Opting for wide-angle shots of her imaginary worlds, Scholz renders digital artworks that begin as equally detailed drawings with pens and pencils. She colors her works using a tablet instead of a paintbrush, but the results, often printed on canvas, hand-embellished and highly varnished, closely resemble traditional oil paintings. Each piece can take several weeks to complete. Read more after the jump.
These ‘beings’ are part of artist Dustin Yellin‘s series Psychogeographies. The figures are life size – six feet tall – and pinned between several layers of glass. Yellin pieces together thousands of old clippings onto layers of glass to create a sort of three dimensional collage. When the layers are stacked together a figure seems to emerge and float within the block of clear glass. The sculpture clearly requires an immense amount of work and is lovingly constructed. However, there is also a certain cold taxonomy to the series. The figures appear to be sunken into the glass to be studied as biological curiosities, alien specimens. Psychogeographies strikes an interesting balance in this way between inside and out, the personal and objectivity. See more of Dustin Yellin’s sculptures after the jump.
As anyone who grew up in the Rust Belt, surrounded by abandoned factories and homes, can attest, there is something deeply and perversely satisfying about the sight of buildings in a state of collapse. The Pittsburgh-based artist and designer Seth Clark seems to understand this feeling well. By meticulously building upon layers of scrap paper, various mixed media and drawing, Clark creates textured images of decadently crumbling edifices. These structures are simultaneously thrilling and frightening. Rather than appearing as merely passive victims to the dark forces behind their deterioration — political, social, and environmental — the buildings seem almost alive, feeding on their own collapse. This sense of a destructive energy, perhaps driven by our own unconscious death wish, may be what makes these ruins so compelling and strangely beautiful.
The Armory Show 2014 is particularly entertaining for the number of selfie-inducing artworks glittered throughout the massive 208,000 sq. ft. exhibition space at Pier 92/94 in New York City. Gleaming works of polished steel and chrome have been increasingly prominent in art fairs, perhaps most obviously with Rirkrit Tiravanija’s mirrored ping-pong table at NYEHAUS during Basel 2008, but the sheer abundance of literal reflections at this year’s Armory speaks true of what undeniably catches the busy fair goer’s eyes these days. From Olafur Eliasson’s triangular mirrors with frosted tips at i8 Gallery to Iván Navarro’s one-way mirrored neon boxes at Galerie Daniel Templon, the Armory Show reminds individuals to take a moment to reflect inwardly before returning to the sea of engulfing works found in over 200 exhibiting galleries from 29 countries.
Pictured is Korean artist Hyungkoo Lee‘s series of photographs and wearable sculptures known as The Objectuals. The series, dominated by a helmet-like object, merges the worlds of sociology and biology into a strange and unnerving mix. Lee’s ‘helmet’ contains spaces for interchangeable lenses which can alternately emphasize or minimize various facial features. The lenses can produce disturbingly exaggerated facial expressions, faces that are cartoonishly demure or aggressive. Lee’s series underscores the body’s important role in social life and everyday flows of power. See more images from Hyunkoo Lee’s series after the jump.
I can only imagine the surprise and disorientation of coming upon a piece created by Leandro Erlich by chance, without warning. Approaching the work, familiar with the Argentinian born artist, one suddenly becomes suspicious of reality, not so trusting of what your senses are reporting. Whether it’s a floating windowsill at the end of a ladder, an elevator stuck between floors in the middle of an art gallery, or a seemingly filled pool that allows viewers to walk around and within it, Erlich uses preconceptions of space to turn expectations on their head. Erlich has been creating such artwork since the late 1990′s, these four installations just a small sampling of his mind-bending practice. See more of Leandro Erlich’s installations after the jump.