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Steven Claydon

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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1950s gallery wall coverings, Claydon reinforces his sculpture’s historical stature while belying its association with outdated fashion.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.

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Leslie Ann O’Dell

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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.

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David Delruelle

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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.

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Scented Belgian Waffle Coin Purses

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Stash your precious cash within the crispy batter walls of these Scented Belgian Waffle Coin Purses and suddenly your money has never smelled sweeter (or looked tastier). Click here to buy.

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Brandon Andersen

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Brandon Andersen is an editorial photographer with a knack for live music. He brings an unrivaled passion to documenting live music and capturing all moments on/off the stage.

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Mathiole

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” 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

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The Social Network by Undundund

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The photo series “The Social Network” deals with the slang language of social networks. How much man behind the custom profiles? How much influence does the user on his profile? As the online alter-ego is set by the social network scene? Is the “social network” really so socially or is it just a big self-presentation stage? The images are metaphorical photo illustrations. Click here for the link.

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Inseln(island) by Takashi Kuribayashi

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‘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.

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MOZ

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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.

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Rebecca Stevenson

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” 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

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