In our current issue print issue, Hi-Fructose Vol. 33, writer Silke Tudor speaks to influential designer and illustrator Syd Mead, the 80 year-old-artist known for his concept work in Blade Runner, Aliens and TRON. In the feature, Mead discusses his fascination with mechanical designs and his unique, technical approach as an illustrator. His science fiction-tinged work calls to mind a utopian vision that puts forth in hope of a better future. “If we start rehearsing a dismal world, that’s the way we’ll end up,” he tells Tudor in the article. “I hope all these dystopian shoot-em-ups are cathartic — I truly hope that they are. In the meantime, I’m doing my small part to visualize a glossy, egalitarian — that means everyone does their part or it doesn’t work — technically advanced society that produces a workable future, and a nicer place to live. That’s what I want.” Check out a few of Mead’s iconic artworks below and learn more about the artist in Hi-Fructose Vol. 33.
Troy Coulterman’s resin sculptures evoke the vibrant colors and over-the-top expressions of animations and graphic novels. His illustrative style is somewhat unexpected to experience in three-dimensions. The Canadian artist (who was featured in Hi-Fructose Vol. 27) recently debuted an exhibition in his hometown, Regina, Saskatchewan, at the MacKenzie Art Gallery. Titled “Digital Handshake,” the show takes inspiration from the abstract ways we communicate online. In the candy-colored sculptures, figures appear to dissolve into pixel-like blocks. In the show’s centerpiece, a man and a woman are separated by an abstract mass — perhaps a metaphor for the barrier we put between ourselves and the world as we increasingly opt for digital experiences over physical ones.
HF Vol. 23 artist Mark Dean Veca celebrated the opening of “Everlast” (previewed here) last weekend at Western Project, Los Angeles. His pop culture fused, immaculate paintings and drawings are inspired by 1970s signage and cartoons. Looney Tunes characters like Tweety and the Tasmanian Devil are literally given a new twist in Veca’s style, whose linework makes them appear twisting and organic. The psycheldia of the 70s is also apparent in his Fender and Zildjian logos, breathing attitude into these corporate identities. Photos after the jump!
Long Beach Museum of Art (LBMA) presents Masterworks: Defining A New Narrative opening October 23. Masterworks consists of 14 large-scale paintings by accomplished artists who have been charged with providing a singular work that could be considered pivotal in their careers. Coinciding with the exhibition opening, the museum will present its premiere event LBMA After Dark featuring live entertainment from 7pm-10pm. For more information please visit www.lbma.org.
Korean-born, France-based artist Min Jung-Yeon recently created a new series of India ink paintings that meditate on moments of quiet stillness. The body of work came about during the artist’s move from Paris to the French countryside, a nostalgic setting that reminded her of her upbringing in her home country. Jung-Yeon’s paintings communicate through the subtle placement of suggestive elements rather than grandiose vistas. Textured and stylized, her geological formations and pine trees show up as dreamlike motifs, inviting the viewer to imagine an uninhabited, undisturbed paradise. Jung-Yeon will be showing with Galerie Maria Lund for the upcoming Young International Artists art fair, which takes place in Paris October 23 through 26.
Steven Spazuk paints with the flame of his candle like the hairs of a brush, charring paper and delicately sculpting the soot with feathers, paintbrushes and other tools. His work retains the undulating quality of smoke, but certain sections are carved out with a realist precision. In his latest series, Spazuk juxtaposes birds with destructive hardware: grenades, spray cans, stove burners. Titled “Ornithocide,” the series is a reaction to the heavy use of pesticides in North America and the consequential poisoning of insect-eating birds. “Since this industrial revolution, we are quite comfortable with the idea that we can poison insects to seemingly cleanse our homes and protect our crops,” Spazuk wrote in his artist statement. “We collectively and conveniently avoid thinking about the impacts of these suicidal choices. How can it make sense to lace our food and dwellings with poisons? How dare we impose these deadly choices on all other forms of life?”