The darkness of our inner demons has always fascinated Alicia Martin Lopez. Her work demonstrates the kind of freakish interior of our psychological state, made real by her even weirder figures. Working in both oil paint and digital media, Martin sets out to find the beauty within a sea of darkness. Her subjects hover in an alternate plane, in some gassy atmosphere that creatures from the black lagoon might inhabit. To her, however, these extraterrestrial individuals represent the tension we all face in every day life. The kind of common-place trials of emotional baggage. These foreign monsters are not monsters at all. She said, “They are like a seed planted in us wishing desperately to germinate. Watered correctly, it can thrive in beautiful ways.” Read more after the jump.
Just when you might have thought Banksy has pulled off every street art prank in the book, the artist launched a new project: an experimental art exhibition on the streets of New York that will go through the month of October. A new piece will be put up every night and posted on his website every morning. According to the website, accompanying each piece is an 800-number stenciled on the wall. When called, it plays a recording that sounds something like an audio guide at a museum — except with a wry sense of humor. Read more after the jump.
An anomaly in the art world, Gallery House Canada eschews the traditional monthly exhibition format and instead opts to represent a stable of accomplished artists and host one to two openings per year. Titled “Truth, Light & Matter” the latest show includes new work from Ray Caesar, Joe Fenton, Gottfried Helnwein, Stephen Ibbott, Anita Kunz and Brian Richer. Read more after the jump.
While frames are typically relegated to the background of art exhibits, designers Rémy Clémente and Morgan Maccar bring them to the forefront in stunning style. The sculpture series known as DURAMEN features what appear to be empty frames in the process of melting. While the large frames seem to droop, flow, and drip, each sculpture is clearly carved from wood with a careful hand. Besides being visually arresting, the sculptures are almost humorous in a way. The pair of designers draw attention to often overlooked frames, not by gaudy ornamentation, but by wittily deforming the objects. See more of the sculptures after the jump.
The art of Sail has something nihilistic about it (the artist’s website is even called Useless Arm), but, as it often happens, behind the nihilism is something more subtle and heartfelt. Sail is a reclusive person; all that’s really known about him is that he lives “on the top of a hill near the sea” somewhere in Norway. For his upcoming solo show in Roq La Rue‘s project space, “Dead Language,” Sail created a series of smoky drawings with ink on paper. According to Sail, the mythological figures in the works allude to Japanese oral storytelling traditions and the shape-shifting nature of truth. “Dead Language” will be on view at Roq La Rue in Seattle October 3 through November 2. Take a look at some of Sail’s work for the show after the jump.
An elderly woman in a full-length housedress floats through the air, surrounded by a flock of colorful and exotic birds. One wrinkled hand holds a garland of delicate pink flowers, while the other guides a parade of manta rays. Her grey hair is whipped back and her eyes are closed in a placid expression of quiet, private joy. “If I Died” (2013) is constructed of fiberglass, silica gel sculpture and bird specimen by Sun Yuan and Peng Yu, two of China’s most controversial artists, and is part of the exhibition “Dear,” on display at Galerie Perrotin in Paris until November 9, 2013. Read more after the jump.