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Yurex Omazkin

 photo sound-ambition-2_zps7353b0ba.jpg  photo sound-ambition-3_zpsaf91b261.jpg  photo sound-ambition-4_zps70837f16.jpg Well, today’s discovery is the wonderful world of artist Yurex Omazkin. Love.  photo sound-ambition-1_zps19f90ebb.jpg

Gillian Lambert

 photo 9725110_orig_zpsd6266509.jpg  photo 1243830_orig_zps698066d5.jpg  photo 6497245_orig_zps0176275e.jpg This bit of awesomeness brought to you by artist Gillian Lambert. Yay!  photo 8970326_orig_zps88c18544.jpg  photo 325195_orig_zps46d5c899.jpg

Steven Claydon

 photo steven_claydon_mishap_zps07feb5dd.jpg  photo 5005635783_4d645fd8a7_z_zps86ba04bf.jpg Claydon’s The Author of Mishap (Them) takes its inspiration from J.G. Frazer’s The Golden Bough, an early 20th-century dissertation on magic and ritual that was widely denounced for its questionable methodology – a comparative anthropology by ‘genre’ rather than linear science. Mirroring Frazer’s logic, Claydon’s portrait is a composite of three heroic busts of political figures from this time, each embodying radically opposing beliefs. Through this literal hybrid, Claydon incites the current revivals of genetic engineering and post-modern eclecticism as plausible validation of Frazer’s theories. Substituting the traditional hallowed material of bronze for cast copper powder and resin, Claydon defiles his subject’s monumentality; the aged patina has been created through urinating on the object, both an act of defamation and a reference to Warhol’s egalitarian pop. Perched on a burlap-coated plinth reminiscent of 1950s gallery wall coverings, Claydon reinforces his sculpture’s historical stature while belying its association with outdated fashion. The peacock feather operates primarily as a formal device, adding a surreal and dilettantish air to the impoverished authoritarian relic. Link.  photo steven_claydon_mishap1_zpsc6df5f6d.jpg

Leslie Ann O’Dell

 photo novocaine_by_leslieannodell-d66sqt0_zps68297fb3.jpg  photo Untitled-1_zps344302de.jpg Leslie Ann O'Dell is a visual artist most known for photo-illustration. O’Dell’s work is comprised of haunting imagery… Ranging from dark imposing landscapes to mystifying portraitures, that evoke sensations of vulnerability, demise and the fear associated with such sentiments.  photo Untitled-3_zpsf679d862.jpg

David Delruelle

 photo david-delruelle_14_zps80ba97ba.jpg  photo David-Delruelle-snakeface-collage-e1403716931557_zps9545f4f8.jpg David Delruelle was born in Brussels in 1988. He graduated in Fine Arts at the Saint-Luc EPS Brussels in 2012, and is currently engaged in the practice of collage, his favorite medium.  photo spacemen-sandwich-17x25cm_zps048ec3e8.jpg  photo 2ba93d_37070ab426d14be682a3fff6d5cb2f7f_zps5c0ea31b.jpg

Mathiole

 photo transform_by_mathiole-d31y402_zps03709863.jpg  photo nike_robot_dance_by_mathiole-d31qono_zps3eb6b54c.jpg " I'm a 24 years old guy who works with design and illustration since I was 14, there isn't anything I love more than creating new stuff and discover new ways to illustrate my thoughts." - Mathiole  photo Conectando_ideias_by_mathiole_zpse9e75498.jpg  photo Those_old_cliches_by_mathiole_zpsa97da750.jpg

Inseln(island) by Takashi Kuribayashi

 photo Untitled-1_zps56252d28.jpg  photo Untitled-2_zps985e198c.jpg 'Japan's shape is drawn as the boundary that lies between land and sea. However , this is an ambiguous boundary that repeatedly changes with the ebb and flow of the tides or as a result of other natural phenomena. In this work, a flat map of the world is spread over the peak of a 4-meter mountain. The boundary between land and sea no longer represents a national border, instead hinting at the boundary that lies between man and nature. This view of the world, in which the land mass simply spreads downwards, is also reminiscent of the geocentricism of ancient times, in which people believed that the heavens existed above a flat Earth.' Link here.  photo Untitled-3_zps4fc11406.jpg  photo Untitled-4_zps2669b0a2.jpg

MOZ

 photo 897633-7_zps3ef77341.jpg  photo 896670-7_zpsd6d5797e.jpg  photo 890261-7_zps0602d347.jpg French artist MOZ paints flawlessly beautiful people, and then adds humor and wit to his pieces to capture the perversity and attitudes of pop media. Finding inspiration from the art of Andy Warhol and 1960's icons, MOZ paints images of gorgeous women juxtaposed with typography from instruction booklets and warning messages. The combination of wit, women, and sex, helps MOZ to create an erotic, almost voyeuristic experience for the viewer.  photo 897654-7_zps3320b8e3.jpg  photo 892607-7_zpse7c7863b.jpg  photo 892635-7_zpsc83bf825.jpg

Rebecca Stevenson

 photo Bambarella2-1024x753_zps690c5a9f.jpg  photo bambarella-1-1024x732_zpsca5d1e51.jpg  photo N3Bambarella-1024x766_zps447e31db.jpg " My work is concerned with the visceral and the sensual. It draws upon anatomical drawing and botanical illustration, but occupies a liminal territory between scientific enquiry and the subjective, imaginary body. My recent work investigates the relationship between innocence, consumption and desire. In each piece, a sculpted animal is cut, manipulated and refigured. These interventions result in outbursts of colour and texture, twisting the material or "flesh" of the sculpture into forms resembling flowers or fruit. The object assumes a two-fold meaning; a split or double identity. From one angle the viewer sees a bouquet of roses, from another the head of a slaughtered calf. These interventions can be read as the expression of an impulse to "dress" or prettify, or as the breaking through or breaking out of an irrational, subconscious or chaotic element, like a wound or disease. My treatment of my subject, whether viewed as butchery or beautification, creates an undercurrent of disturbance in the work. Drawing on the traditions of vanitas and still life, my work explores the contradiction inherent in the "nature morte", in which transient everyday objects - bread, meat, flowers, fruit - are immortalised and elevated by the processes of art. Petals on the point of turning brown and dropping, fruit so ripe that it is just on the verge of rotting; captured and petrified, like a stuffed animal or a frozen bouquet. Art as a kind of pickling, s howing death and obscuring it - all at once. Using materials manipulated to resemble food- meat and marzipan, sugar and butter, offal and chocolate - the work explores ideas around pleasure and consumption, both visual and oral." - Rebecca Stevenson  photo Blue-Cutie-2_zpsf3301fa2.jpg  photo Blue-Cutie-3_zps7b0fdda4.jpg  photo Blue-Cutie-1_zps89b454a3.jpg

Johnny Andrew Gigliotti Bailik

 photo 680252-7_zps9cbfba3b.jpg  photo 676710-7_zps6491ad83.jpg  photo 674929-7_zpsf7380843.jpg Johnny Andrew Gigliotti Bailik was born in the same steel town as the late Andy Warhol; Pittsburgh, Pennsylvania. In 1989 he studied privately at the Hoyt Institute of Fine Arts and in 1992 he moved to the Cleveland, Ohio area to attend the Nationally Accredited Bliss Hall School of Fine and Performing Arts. In 1994 Bailik organized with other fellow art students an Anti-Censorship exhibition which featured a lecture by Andres Serrano, most known for his photograph entitled “Piss Christ”, as well as a speech by Dennis Barrie, who was the director of the Contemporary Arts Center of Cincinnati during the infamous Robert Mapplethorpe obscenity trial. In 1996 Bailik helped to organize a regionally legendary show entitled “Spectacle”, a multi-media, collaborative, outdoor performance that contained everything from static art to interactive sculpture to extravagant performance art. Bailik’s travels and life as an artist has also made it possible for him to meet such artists as Paul Jenkins, Dennis Oppenheim, Julian Schnabel, Ed Moses, Mark DiSuvero, Dennis Hopper, and Robert Rauschenberg to name a few, as well as to work with artists of varying degrees and aesthetics. Since 1991 Bailik’s work has been primarily painting, but has also included sculpture, video, and installations. It has been displayed internationally in contemporary and modern museums, commercial galleries, and private collections. He has also won awards and grants in multi-media, video installation, and painting. Bailik moved to Los Angeles, California at the end of 1999. He states, “I have been profoundly affected by the ‘City of Angels’. The energy, spirituality, diversity, the eclecticism of the culture and the land has altered my work dramatically. It is a beautiful time and place to explore.” Johnny Bailik continues to live and work in his Los Angeles, CA studio.  photo 672338-7_zpsa7ce921e.jpg  photo 677214-7_zps9f92d5e3.jpg