Drawings by
“I am Thomas Raimondi aka Thomas Ray aka El Ray, a 31 year old man from a small city near Milan, Italy. I create images from the underground. Like a Wolf Eyes song I wanna burn your house down. No Mercy. No Regrets. No Hope. No Future. No God. No Church. No Fathers. Life’s a bitch, whom I have no money to
Generative visual art by :
“The Method goes something like this. Imagine a square sheet of paper, and mark a dot somewhere on it and record its position. Fold the paper along a random axis, and watch where the dot ends up, recording this position. Repeat this thirty-two times. Use a weighted average of that list of points to determine the colour (or at least hue and brightness) of that original point. Now repeat, using the same folds, for as many points on the square as you like (say, several million). What I love about this is that despite the intensely tactile quality of the surfaces, these images have no “thing” to them: they’re visualisations of transformations of space – traces of topological history. This generative technique has lots of neat features. It’s resolution-independent (you can sample as many points as you like), the procedure is simple and compact (32 folds) and because it’s a sequence, it’s richly connected with image structure: the first fold is the most significant in controlling macro-structure, and the last fold influences the smallest level of detail. McCabe uses genetic algorithms to search and “optimise” the space of possible fold sequences / images.”[this quote relates to McCabe's exhibition , not these displayed artworks]
is an artist, designer and illustrator based in Cornwall:
“I love the often unpredictable nature of working with found imagery and I’m always surprised by the outcomes.”
works mainly with paper and textiles, creating a variety of illustrations including these nice candid patterns.
Great thought-provoking exhibition of conceptual artifacts created by:
“Spending time online, making digital work I’ve been interested in notions of touch and closeness. I have experienced the digital in a synaesthetic way, where the vibrant colours and hyperreal textures attempts to break through the screen, becoming more than visuals, attaining real presence.
Moving from my abstract photoshop work into installation, I’m still interested in a sort of virtual touch. With this project I wanted to explore how this is part of how we interact with technology and other consumer products. As physicality becomes negated through our increasing immersion in linguistic structures, digital worlds and social media, brands and marketing make use of the desire for intimacy that is left unfulfilled. This is tapped into by evoking a sort of aura, a virtual touch, promising closeness through proxy, offering hyperreal transcendence.”
Every one of the 257 posts I published this past year is my favorite. I never post about an artist I only feel ok about. My aim has always been to focus on quality and certainly not quantity. That said, I felt the need to go back into the 2013 archives and pull out the works which, in my mind, revealed pathways to entirely new possibilities in visual art — as well as highlighting artists who take nothing for granted and question some very fundamental notions in our existence. They serve as reminders that we should never stay idle and certainly always question what seems taken for granted.
Thank you so much for reading and following Art Sponge this year, and happy new year!
The work of Thierry Fontaine photographically questions the notions of body, identity and the intersection of photo and sculpture.
Taisuke Koyama’s captures such bright and colorful beauty in the purposeful decay of his previous works. A true lesson in re-defining how one’s finished artwork are really never finished.
James Nizam brings the definition of photography back to its essential: light. In doing so, he also demonstrates an impeccable skill in controlling this frustratingly uncontrollable element.
Distorted images of women in advertising pervade our everyday environment. Some have gone as far as calling it poison. Vermibus takes this idea literally and uses toxic waste to extremely distort these images, to the point of creating striking artworks.
The extremely sharp, textured and abundantly colourful aesthetic of Mark Lovejoy’s photography makes it impossible to look away.
Justine Kurland frames nature and human nature in a wonderfully real and simultaneously mystical way.
I love the atmosphere found in Brian Vu’s collages, it’s dark and feels slightly occult — and very simply executed.
Yago Hortal hits the most explosive point in color I’ve observed this year, and does so unexplainably without over-doing it.
Orble’s work is also of the explosive kind, but with a fine touch of humour and a seemingly endless creativity to it.
0×17 perfectly bridges chaos and control, coherence and discordance, all the while finding a very careful compositional balance.
Hector Hernandez’s Hyperbeast series captures beauty in movement, while giving life to surreal creatures.
Max Snow’s photography depicts a dark and unabashed world and frames it beautifully.
Adolfer Bimer shows us the ghosts we all see in chemical abstractions.
Spiros Halaris’ work sits between many forms of art and design, where he’s built his own multidisciplinary aesthetic.
There’s an enigma behind Saiman Chow’s work and my eyes immediately feel obliged to try and peel off every layer of meaning in his symbolism.
Karborn’s work requires one to take a real look into the detail, the texture and the composition to see how brilliant the intention and beauty in it is.
Inka & Niklas’ photography is one of subtlety and the endeavour which lies behind it.
Kjell Varvin plays marvellously well with notions of impermanence throughout the endlessly different ways he constructs his temporary installations.
Alex Trochut truly knows what it means to play with type, and shows a fantastic imagination with each individual letter.
Whether black and white are truly colors is a matter of debate, but Elle Muliarchyk captures such richness in her contrast it’s hard to doubt it.
Erin O’Keefe shows beautiful depth in her depiction and interrogation concerning the flatness of photography.
RAW is a typography project by for
The color treatment is like choosing a typeface, it comunicates and transforms the information you’re sending. It’s important considering what attitude and message it’s giving. The bad thing is that you don’t have a catalogue of color treatments that you can go to and choose one, you can only rely on your own technique, and thats why I think it’s so important to never stop trying things, so your “tool box” gets bigger and you have more solutions to choose
pic of the day:
