Feb 17, 2014
So real you'll be swatting these guys away from your desk. And then remember they are holding up your important paperwork. This set includes 4 realistic looking insect push pins that will give anyone the hee-bee jee-bees! Click here
Feb 12, 2014
was born in Roeselare, Belgium in 1981 and now lives and works in Brussels. In his sculptures and drawings Lerooy conjures up a fantastical world that takes beholders to the intimate frontiers of humanity, probing the dark areas and the flaws that define man’s mental and physical limits. Each work evokes metaphysical questions as the artist offers his richly ironic explorations of such themes as creation, desire and death. Lerooy’s work teems with strange creatures and symbols of death. His drawings celebrate an aesthetic tradition reaching back to Leonardo da Vinci and Michelangelo, but also recall the vanitas paintings of the 17th century, mixed in with the grotesque and macabre humour of more recent artists like James Ensor, Félicien Rops and Antoine Wiertz. Just as Ensor painted self-portraits with a skull, and Rops showed prostitutes copulating with skeletons, so Lerooy transforms the head of the Mona Lisa into a skull, and his impassive faces are furrowed by erotic fault lines or holes in the frontal cortex threatening to swallow up the little bit of brain that remains. (via Galerie Rodolphe Janssen
Feb 12, 2014
effects oscillations between sculpture and painting, with the vigour of action painting but a controlled hand. He is perhaps best known for his monochromatic paintings, where layers of oil or acrylic gel are dragged across hard surfaces such as aluminium, stainless steel or Plexiglas with a fine, comb-like piece of metal or board in one movement, often repeated many times. Striations catch the light, their rhythmic textures suggestive of the ridges in a vinyl record, strands of wet hair, the grain of a feather – and whose titles flirt with association (Comrade, Amphibian, Corinthian). Martin does away with paint altogether in his wall-mounted casts of copper, bronze and nickel, whose surfaces are unctuous but frozen. In pure pigment works, vivid colour is applied to moulded panels, whose baroque contortions appear like an extreme close-up of a painter’s palette. These raw, worked surfaces find their equal and opposite in the recent sculpture Behemoth (2012), where the object (a huge cubic pile of cork on the floor) is impregnated with black pigment, rendering it a mass of surface.