Jorge Mayet’s miniature floating sculptures serve as compelling metaphors for the artist’s complex relationship to his native country. Mayet was born in Cuba, yet has been living and working in Mallorca, Spain as an expatriate. Despite the circumstances, his sculptures are devoid of any intentional political statement. Instead, they explore the artist’s personal experiences with exile and displacement, and the powerful nostalgia for one’s homeland left behind.
London-based artist Elaine Duigenan’s painstaking process to create the body of work “Blossfeldt’s Apprentice” required two key elements: twist ties and a camera. The project is named for German artist Karl Blossfeldt, whose renderings of plant-life in the 1920s inspired this series by Duigenan. Blossfeldt famously said, “the plant must be valued as a totally artistic and architectural structure.”
Hell’O, also known as Hell’O Monsters, is a collective of Belgian artists who use individual talents to create work within a cohesive, bizarre fictional world. The trio was born out of Jerôme Meynen, François Dieltiens, and Antoine Detaille meeting in the 1990s, and they populate their works with hybrid beasts taking part in both humorous and bleak narrative scenes. The works shown below are examples of the group’s acrylic paintings.
There’s a palpable darkness that permeates the surreal oil paintings of Philippine artist Leslie De Chavez. Rendered on large, black canvases, the shadowy landscapes are home to ghoulish, distorted figures and act as settings to various scenes of violence, corruption and suffering. Born in Manila, De Chavez uses his art to reflect upon current socio-political issues that affect his homeland. Through use of powerful text and imagery, his works explore religion, national identity, global capitalism, power struggle, and corruption within modern government. While the works appear dismal and often sinister, De Chavez is driven by the hope that his art can create awareness and inspire positive, progressive change within his community.
The scenes in Mernet Larsen‘s paintings appear familiar, at times even mundane: doing yard work; sitting in a staff meeting; waiting on a subway platform. Yet running through these representations of daily modern life is a distorted sense of reality that suddenly leaves one struggling to find footing within these worlds. Larsen has been painting this way since the early 2000s, channeling both the geometric compositions of El Lissitzky and 12th century Japanese narrative paintings. At the center of her works are block-like characters resembling vintage graphics in an old computer game – both abstract and figurative representations of ordinary people. Applying concepts of reverse perspective and what the artist refers to as “Rorschaching” to insightful, often witty narratives, Larsen inspires us to reconsider the ways in which we relate to the world around us.
For almost a decade, Beeple has sat down every day and made something. The digital artist uses a variety of programs and apps for his Everydays Project, an ongoing series of works uploaded to the artist’s site every day. Beeple is the moniker of artist Mike Winkelmann, who describes himself as making “a variety of art crap across a variety of media.”