Check out this giant banana-shaped billiard table by Cleon Daniel. Link here.
Check out this giant banana-shaped billiard table by Cleon Daniel. Link here.
” My name is Lily Mae Martin I am a Melbourne born visual artist and writer. I’ve been drawing and writing stories as far back as I can remember. My earlier influences include Beatrix Potter, Elyne Mitchell and William Hogarth. I was fascinated with anatomy of the horse and death as a young girl. After my misspent youth of moving all around Victoria, I studied a Bachelor of Fine Arts in Drawing at the Victorian College of the Arts. During this time I participated in master classes for drawing as well as worked next door at the National Gallery of Victoria for four years. Through my studies I came to realise how much I enjoyed the anatomy of the human form as well as more the technical aspects of drawing and painting. I was looking at works by Laurie Lipton, John Currin, Bill Henson and Jenny Saville. My work currently looks at the relationship between art and motherhood, feminism, the domestic, identity and, of course, anatomy of the body. My current influences include The Dutch Masters, Sally Mann and Lucian Freud.” – Lily Mae Martin
‘Never have there been a knife sharpener this cute before if your idea of cute is a killer whale! You get both fun and function with this Shark Jaw knife sharpener. The bottom is designed with anti-slip material to keep it stabilized while you use it.’ Link here.
Cuban born American artists Alain Guerra and Neraldo de la Paz are the collabortive duo Guerra de la Paz . Originally sourcing their materials from the waste bins of second-hand goods shipping companies in Miami’s Little Haiti, Guerra De La Paz make their sculptures from the discarded items of daily life. Viewing their practice as a kind of ‘archaeology’, their work engages with the history inherent in common debris and its possibility for recycled usage. In Nine, a giant mound of clothing heaps with strata of prom dresses, Christmas jumpers, and embarrassing yesteryear fads, bearing down with the weight of a civilisation and its disowned memories. Beneath the fringes of the hulking mass can be seen the feet of nine people supporting the load, a testimony to the strength and value of community.
‘Juan Doe is an endangered painter. The last of a dying breed, he personifies pure art. With unheralded hand skills and hellacious wit, Juan Doe redefines the parameters of bizarre genius and secular thug. Born and raised in New York City, Juan Doe has been evolving the language of interdisciplinary art and design since the late 1970’s. He is an artist who strains the boundary between painting, propaganda, polemics, and philosophical discourse in art. He encapsulated a new age aesthetic through his command of the graphic process but with the masterful execution of a painter. His images are non-negotiable, they cannot be interpreted or postponed; they exist now, for the oxygen of the viewers eyes. His works stand as testament to this artist’s brash and unwavering attempts to demand attention through an acrylic vehicle of contradiction – a showcase of the beauty and horror in contemporary art. Doe will not allow the viewer to arrive in the future with out the past. His work characterizes a fusion of form, a behavior, dictating dignity and morality through a visual medium synonymous with contemporary culture.’ (via Creative Thriftshop)
Michael Doolan <-- was born in 1959, Melbourne, Australia and currently lives and works in Melbourne. He completed a Bachelor of Arts (Ceramic Design) at Chisholm Institute of Technology, Melbourne (1981), and graduated with a Master of Arts at Monash University, Melbourne (2001) where he is currently a PhD candidate in the Department of Fine Art. Among his various achievements, Michael has been the recipient of the Out of Time Grant, Australia Council for the Arts (2005); a London Studio Residency, Australia Council for the Arts (2002); the Sidney Myer International Ceramics Award (2002); and in 1995, was awarded a gold medal at the 14th International Biennale, Ceramique d'Art, Vallauris, France. Michael's work features in many private collections, as well as public collections both locally and abroad such as the Shepparton Art Gallery, Victoria; Newcastle Region Gallery, New South Wales; Gold Coast City Gallery, Queensland; Ipswich Art Gallery, Queensland; and the Chateau Museum, Vallauris, France.
Peter Halley was born in New York City. He received his BA from Yale University and his MFA from the University of New Orleans in 1978, remaining in New Orleans until 1980. Since 1980, Halley has lived and worked in New York. For over twenty-five years, Peter Halley’s geometric paintings have been engaged in a play of relationships between what he calls “prisons” and “cells” – icons that reflect the increasing geometricization of social space in the world in which we live.
Dutch artist Rosa Verloop creates these fantastic sculptures that are made of nylon stockings. She tucks them with pins and molds them into human like figures.
As reference for his paintings, Jesper Palm uses his own posed photographs. Shooting from a detailed script, he varies his photos in a series of compositions with different details and angles. Having a variety of frames, he can then edit together several images on the computer to get a finished reference picture. Working with several different versions of the same image, the artist brings out certain sections and pushes back others into more secondary positions. Variably modifying colors and shapes offers greater freedom for painting, while embedding additional layers of meaning. Among his inspirations, Palm counts painters like Eric Fischl, Mark Tansey and Luc Tuymans, as well as filmmakers like Wim Wenders and Yang Fudong.
Upside Down Pastoral Scene came out of a need to engage the issue of race in American history and culture. Race is a barely repressed issue in southern rock music and became unavoidable as I researched and completed Proposal for Monument in Friendship Park, Jacksonville, FLA in 1999. Working in a somewhat similar way to Friendship Park I constructed a large field of elements with a sound track, in this case a field of inverted tree stumps. The upside down trees are a direct reference to an earlier interest of mine- the work and ideas of Robert Smithson. However, in Upside Down Pastoral Scene the tree reference is steered toward symbolic, historic and cultural meanings. The Billie Holiday song Strange Fruit forms the central axis for the soundtrack and positions the tree as a site of unspeakable violence, the site of lynching. Further symbolic concepts and interconnections are brought out by particular musical choices. For instance the Sister Sledge song We Are Family introduces the theme of family and the idea of the family tree to the work with a nod to its producer Nile Rodgers, a former member of the Black Panther Party. Ranging across genres and historical moments, blues, gospel, hip hop, jazz, classical and funk compositions are montaged together to form a polyvalent and multi-axial narrative of U.S. history. The twelve inverted tree stumps are constructed using Hollywood prop making techniques. Each tree contains a loud speaker and is placed on a square mirror. The sound track is digitally controlled, sending music to particular trees and constructing sonic landscapes as it unfolds. Ideas of the family tree, the tree of knowledge, the symbolic significance of the parts of a tree; roots, the trunk and branches are re-oriented as various compositions play out in the tree field. Upside Down: Pastoral Scene implies that African American creativity produced and continues to produce American culture, in spite the long history of overwhelming forces deployed against it.” – Sam Durant