Costa Magarakis, a Tel Aviv-based artist who specializes in sculpture and also goes by the name “Duck Pirate,” uses the structure of shoes as the base objects for several of his work. At the hands of the artist, simulated footwear becomes the body of an animal, a maritime vessel, or new type of creature altogether. His work is described as existing within a “gothic wonderland illuminating the gray area between truth and lies.”
Melissa Moffat, a Toronto-based collagist, uses comic book clippings to create abstract collages. Using classic characters, the artist deconstructs the characters’ costumes and familiar forms to construct something wholly new. Yet, in a sense, the resulting work offers insight into the visual nuance of these iconic heroes and villains.
Erika Lizée, an artist based in Los Angeles, created an installation for new exhibition “Shift and Fade” at BLAM’s Los Angeles location. The show challenged artists in San Diego, New York, and Los Angeles to “explore material as a metaphor for personal history.” In response, Lizée crafted “Seed of Life,” an installation based in acrylic on Duralar.
Paul White focuses on a single medium in creating his hyper-detailed works: colored pencil on paper. In particular, the artist is focused on the concepts of decay and objects becoming obsolete. In terms of source material, much of his work is derived from photographs taken of desertscapes and other scenes across the West Coast.
Wayne White, the multi-disciplinary artist, puppeteer, art director, set designer, and musician, comes to the Virginia Museum of Contemporary Art on Friday, Nov. 4. White is part of the “Turn the Page: The First Ten Years of Hi-Fructose” exhibition, which inhabits the museum through Dec. 31. The artist will narrate a slew of images, offering some banjo and harmonica tunes along the way.
Haruhiko Kawaguchi, also known as “Photographer Hal,” released the book “Flesh Love” five years ago this December. The book took couples the artist met at Tokyo clubs and had them pose inside a vacuum-sealed bag. In this process, Kawaguchi only had 10 to 20 seconds to take the photos, in order to avoid danger for his subjects.