Wednesday, August 30, 2023

Chunky Shapes and Lines Morph Into Adam G.’s Minimal Zoological Illustrations

A wide-eyed cat made with red and black shapes

All images © TRÜF Creative, shared with permission

Using his signature messy-modernist style and a palette of red and black, Adam G. (previously) of the Santa Monica-based studio TRÜF Creative pieces together a minimal menagerie. Tiny dots top the ends of a cat’s whiskers, chunky stripes form the belly of a bee, and a toucan perches on a single leg made from an incredibly thin line.

Part of the series Animalia, the creatures shown here were created as a challenge to “loosen up my branding design and tighten my art compositions,” Adam G. says. “I’m always searching to find the balance and blurred line between design and fine art. Since design can be so mechanical, I love taking the defined and often stiff geometry and rules that I use in my visual identity work and then seeing how I can add some fun and whimsy to it all.”

Animalia follows a similar collection of creatures found on land and sea, and prints are available in the messymod shop. Adam G. recently worked on a variety of commissions, including a pair of illustrations for DAR Chocolate and editorial projects for The Infamous and Road & Track. Find more of his lively illustrations on Instagram and Behance.

 

A frog with black spots and a red stripe

A crab made of black and red shapes

A cat like animal made of black and red shapes

A rabbit made of black and red shapes

A monkey made of black and red shapes

A duck made of black and red shapes

Two bees made of black and red shapes atop red flowers

A toucan made of black and red shapes

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Eva Jospin’s Vegetal Growths and Enchanting Architectural Ruins Transform the Gothic Palais des Papes

“Nymphées (Grande chapelle)” (2022) . All images © OTresson, shared with permission

Within the gothic chapels of Avignon’s Palais des Papes, Eva Jospin carves parallel narratives tinged with enchanting ecologies. The Parisian artist, who’s known for her large-scale sculptures and installations made of corrugated cardboard, positions her architectural works inside the cavernous papal residence, juxtaposing her cut columns and archways with the historic surroundings.

Titled Palazzo, Jospin’s exhibition features several works created within the last few years, many of which contrast the human-made with the natural through scenes veiled with mystery. Vines descend in dense clusters in “Cénotaphe,” a monumental memorial with fantastical details, while the luminous “Nymphées” evokes crumbling geological formations and jagged, rocky openings combined with elements of an ancient Roman fountain. The theatrical “Côté cour côté jardin” structurally mimics a stage or city square with walls of vegetation, as it questions the relationship between inside and out and considers what remains hidden.

In each piece, Jospin draws on art history and antiquities, exploring interactions between differing spaces. Her use of a humble, recyclable material to depict grand scenes in states of ruin emphasizes fallibility and the inevitability of change, as she explores shifts in relevance and power over time.

Palazzo is on view through January 7, 2024.

 

Cardboard vines descend from a tall architectural column

“Cénotaphe (Grande chapelle)” (2020)

Vines hang from an cardboard sculpture with a wide, round, architectural base

“Côté cour côté jardin (Grande chapelle)” (2021)

A cardboard sculpture that appears as architectural ruins

“Forêt Corinthienne, (Chambre antique du camérier)” (2023)

An organic cave-like form made of cut cardboard surrounds an opening

Detail of “Nymphées (Grande chapelle)” (2022)

A small architectural sculpture made of cardboard stands on a white pedestal

“Petite folie (Chapelle St Martial)” (2023)

A viewer stands in front of a cardboard forest sculpture that towers in the air

“Galleria (Chambre de Parement)” (2021)

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Eva Jospin’s Vegetal Growths and Enchanting Architectural Ruins Transform the Gothic Palais des Papes appeared first on Colossal.



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Matt Roussel Blends Woodblock Printing and Painting Into Beguiling Portraits

A woodcut painting of a woman with a bird hat.

“L’Oisleuse.” All images © Matt Roussel, shared with permission

An avid printmaker with a love for experimentation, French artist Matt Roussel constantly craves new challenges. In his series of painted woodblocks (previously), he starts with a traditional printing block and carves away the negative space, but rather than applying ink and transferring the image to paper, he transforms an element of the process into the artwork itself.

As Roussel carves each piece, the gouges reveal a tantalizing texture. In his new works, the faces of his subjects remain smooth and rely entirely on painting to bring them to life, while the grooves are reserved for enormous flowers, ornate garments, and dreamy surroundings. “I wanted to put myself to the test of painting,” he tells Colossal. “I’m quickly bored when I make same things.”

The inspiration for his subjects starts with a series of prompts that he plugs into an AI tool, generating arrangements and patterns. “For me, it’s a work base that allows me to do by hand what I see…This is a new tool which helps me, like the computer, when I started to make 3D (work) in the ’90s,” he says. Each piece takes between three to six days to complete, depending on the size.

Roussel regularly makes prints, too, and several are usually available in his shop. This fall, he will be in a number art fairs, including Affordable Art Fair Singapore. Find more of his work on Instagram.

 

A woodcut painting of a woman with an ornate flower hat.

“Blanche 2”

A woodcut painting of a woman with an ornate flower hat, with a fish on top.

“Le Poisson”

A woodcut print of flowers.

“Fleurs”

A woodcut painting of a woman wearing a colorful coat.

“Le Manteau du Prince”

A woodcut painting of a woman wearing voluminous flowers.

“Blanche”

A woodcut painting of a woman seated among lilies.

“Le Bourgeon”

A woodcut print of a wolf among flowers with heart in its mouth.

“Loup”

A woodcut print of a scarab beetle.

“Scarabe”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Matt Roussel Blends Woodblock Printing and Painting Into Beguiling Portraits appeared first on Colossal.



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Tuesday, August 29, 2023

In ‘Fancy Pigeons,’ Brendan Burden Captures the Flair of Underappreciated Birds

A bird with brown and white feathers that flair up around its neck and head

Jacobin pigeon. All images © Brendan Burden, shared with permission

Often seen clambering for scraps on city streets, pigeons tend to be an overlooked and even despised species. The birds’ ubiquity in urban areas, and their colloquial characterization as “flying rats,” have given them a lackluster reputation that Brendan Burden upends in his ongoing series of portraits.

The Ottawa-based photographer originally encountered the crest of the Jacobin pigeon, a lavish crown of plumage that wraps around its neck like a voluminous garment. “I had no idea pigeons could look this way and started doing some research and came to find out that there is a wide variety of pigeons, wild and domestic, many of which are quite beautiful,” he says. “I wondered whether I could apply more formal portrait techniques to these birds.”

After Ottawa Magazine commissioned him to shoot some creatures for a story on the Canadian Pigeon Fancier’s Association, the Fancy Pigesons series began to take shape. “My intention was to juxtapose the lowly pigeon with formal portraiture techniques and provide a new perspective on something ubiquitous, bordering on completely invisible,” Burden shares. Set against solid, paper backdrops resting in a large, show cage, the images evoke studio shots and capture each creature’s unique features. The Kormorner tumbler, for example, appears as if it’s wearing a turtleneck of brown feathers with a puffy collar, while the Moden’s gleaming, iridescent neck contrasts the soft, black and orange plumes of its body.

 

Two images, both of pigeons, the left has white and black feathers, the right has gray-green feathers

Left: English long-faced tumbler. Right: Lavender racing homer pigeon

As Burden photographed the birds—all are in the care of fanciers and avian enthusiasts rather than breeders—he learned about the unique relationship they have with humans. Pigeons are likely the first species to be domesticated, a history reflected in Mesopotamian cuneiform tablets and Egyptian hieroglyphics that suggest the practice was likely happening more than 5,000 years ago. He explains:

Had you asked me prior to undertaking this project, where they came from, I would have just assumed that they were wild and had some kind of symbiotic relationship with humans, like rats or mice or any number of other creatures. But in fact, they’re feral domesticated birds, and the reason they’re everywhere is in part because humans have been breeding them, often for nothing other than their beauty, for thousands of years.

As Burden adds to the Fancy Pigeons series, he’s shifting to photographing wild species, a change that requires more travel, time, and patience. “Being that they’re birds, sometimes you just don’t get what you hoped for and have to reshoot,” he says. You can follow his progress on Instagram, and shop limited-edition prints on his site. (via PetaPixel)

 

A pigeon with brown and white feathers that tuft around its neck

Kormorner tumbler

A pigeon with smooth brown and white feathers

Bald head roller

Four images, the top left and bottom right are of a pigeon with a feather on its head, and the top right and bottom left feature iridescent feathers

Top left: Crested pigeon. Top right: Copper black wing archangel. Bottom left: Egyptian swift. Bottom right: Crested pigeon

A pigeon with gold and white feathers turns its head

Domestic flight

A pigeon with beige feathers

Ring necked dove

Two pigeons, both with iridescent and gray feathers

Left: Show homer pigeon. Right: Racing pigeon

Black feathers splay outward from the back of a pigeon

Indian fantail

A pigeon with orange and purple-green iridescent feathers

Moden

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article In ‘Fancy Pigeons,’ Brendan Burden Captures the Flair of Underappreciated Birds appeared first on Colossal.



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It’s a Snail World After All: Tiny Molluscs Slide Around Town in Nostalgic Miniature Sets

a snail crawls up to a video store

All images © Aleia Murawski and Sam Copeland, shared with permission

The minuscule worlds designed by Sam Copeland and Aleia Murawski (previously) are just like ours—only a little bit slimier. Creating small, nostalgic dioramas for the past few years, the pair has a robust collection of sets fit for their tiny snail pals. The mollusks are caught slithering up to a video rental spot to browse horror films like The Snexorcist and Shellraiser, taking a snooze at their office job, and giving themselves a pep talk in the pink-tiled bathroom of a dive bar. Puns and adorable miniature renditions of common objects like a bulky desktop computer and bottles of nail polish fill the scenes, which feel like they’re plucked straight from the 90s.

Copeland and Murawski will have work in a group exhibition opening September 30 at Bedford Gallery in Walnut Creek, California, and have a follow-up to their book, Snail World: Life in the Slimelight, slated for publishing in 2024 by Broccoli. They’re currently in progress on a few video projects, which you can find on Instagram.

 

A snail browses tiny movies

Four images, from top left, three snails are contestants on the dating game, a snail rides a train, a snail sits at its desk at an office, and two snails enter a photo booth

Two snails sit on pink chairs in a nail salon

Two images, from left, a snail slides up to a bar called the meltdown, a snail peers in the mirror o fa bathroom

A snail sits on a barstool with a pool table in the foreground

Two images, from left, a snail peers in the mirror over a pink vanity, and a snail sits on a chair in a dentist's office

Two snails sit at a nail salon table

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article It’s a Snail World After All: Tiny Molluscs Slide Around Town in Nostalgic Miniature Sets appeared first on Colossal.



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Elaborately Detailed Illustrations of Japanese Hotel Rooms by Kei Endo Highlight Architecture and Ornament

An illustration of a Japanese hotel floor plan on a table surrounded by paints and brushes.

Imperial Hotel Toyko. All images © Kei Endo, shared with permission

The finer points of key fobs, towels, and tea cups make their way into Kei Endo’s meticulously detailed floor plans of Japanese hotel rooms (previously). Carefully measured, the interior diagrams depict the furnishings, amenities, and layouts of various rooms, from corner suites to intimate sleeping pods. Endo elaborates on style elements like creative wall decor or unique views, including dimensions for every aspect of the room, right down to the height of the wine glasses.

The images here are part of a vibrant collection comprising Endo’s new book, Tokyo Hotel Sketch ,just released in Japan by Gakugei Publishing. Find more of the artist’s work on her website, and follow updates on X and Instagram.

 

A process photograph showing the making of an illustration of a hotel.

An illustration of artist's materials, including paints, brushes, tape, sketchbooks, and pens.

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Elaborately Detailed Illustrations of Japanese Hotel Rooms by Kei Endo Highlight Architecture and Ornament appeared first on Colossal.



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Monday, August 28, 2023

Luminous Birds Strike Toward a Better Future in Stephanie Brown’s Tattooed Aviary

A bird with black and yellow feathers holds a lit match

American redstart. All images © Stephanie Brown, shared with permission

“The birds are the underdogs,” says Stephanie Brown. “They co-exist with us almost invisibly in our lives if you aren’t looking for them. They’re small but full of attitude and powerful in great numbers.”

Brown returns to the tiny, yet commanding creatures in her ongoing series, The Torchbearers. Comprised of well over 100 tattoos in full color, the collection features common species like sparrows and starlings grasping lit matches in their beaks. The Troy, New York-based artist, whose practice spans drawing, painting, and the inked pieces shown here, began the series in 2019 after about a year of studying and rendering the specimens within the Field Museum’s Bird Division. She explains:

Spending time in that collection helped me understand their role not just as scientific artifacts but how these preserved bodies can help contemporary scientists in their study, often in the effort of conserving what populations are left. Looking back it feels quaint, but in 2019 it felt like the climate crisis had reached maximum volume, with the hottest years on record at the time. Around the same time, I had found an old Victorian Christmas card of these sparrows marching in a procession through the snow, holding tiny torches in the dark night, an image I immediately loved and wanted to adapt into a tattoo.

Melding these sources sparked what’s now a robust aviary that’s both an ode to the beauty and singularity of each creature and a beacon of hope. “There are so many analogies to be made,” the artist says. “The smallest light can lead the way in the darkness. It only takes a spark to start a fire; size does not matter. Natural wildfires even have a regenerative purpose: to clear crowded brush and return nutrients to the earth only to have more biodiversity return its wake.”

 

Two people with tattoos of birds with blue feathers holding a lit match

Bluebird and quail

While tattoos naturally fade and lose detail over time, Brown’s paintings are exemplary of her profound consideration of the animals themselves. With luminous color and delicately fringed feathers, the birds in “In the Dark” and “Chimney Swift” are elegant and active, leading the charge toward something new. These features echo the inked Torchbearers. The works are “a symbol of perseverance for the sheer willpower it takes to survive in this world either personally, socially, or environmentally—a reminder to be vigilant against the systems that exist and maybe just holding hope for a cleansing fire to free us from them and make room for a better world.”

While Brown is largely booked for tattoos at the moment—keep an eye on her Instagram for openings—she does have originals, prints, stickers, and more available in her shop. You can also see her work later this year at Antler Gallery in Portland and Living Room Gallery in Chicago.

 

A tattoo of two birds with brown feathers holding lit matches

Sparrows

Two tattoos of two birds with brown feathers holding lit matches

Sparrows

Four images, each of tattoos of birds holding lit matches

Top left: Magpie. Top right: English robin. Bottom left: Female bluebird. Bottom right: Starling

A tattoo of a blue flying birds holding a lit match

Barnswallow

Two tattoos of two birds with brown feathers holding lit matches

Fighting sparrows

A painting of two robins holding lit matches in the grass

“In the Dark”

“Chimney Swifts”

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Luminous Birds Strike Toward a Better Future in Stephanie Brown’s Tattooed Aviary appeared first on Colossal.



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A Knotted Octopus Carved Directly into Two Pianos Entwines Maskull Lasserre’s New Musical Sculpture

“The Third Octave” (2023). All images © Maskull Lasserre, shared with permission Behind the hammers and pins of most upright pianos is a ...