Today it’s Spring yet still seemingly winterish here at 52.2066° N, 5.6422° E; somewhat like Egon Schiele’s “Early Spring”.
Egon Schiele, Early Spring, 1913, Oil on canvas
Kunsthaus Zug , Sammlung Kamm via PaintingDb
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Spring
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Elena Oganesyan’s moody blur
Elena Oganesyan is a young Russian photographer living in Moscow who’s moody blurs are truly captivating.
© Elena Oganesyan
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Mihoko Ogaki’s starry nights
Milky Ways is a series of figurative sculptures in which artist Mihoko Ogaki explores life and death. Dying figures are made of black plastic and contain LEDs, which – when the room is dark – shine through little holes, illuminating the surrounding walls into a Milky Way display.
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Anya Gallaccio’s 10,000 little deaths
Anya Gallaccio‘s ‘Red on Green’ (first exhibited at the ICA in 1992) consists of 10,000 red tea rose heads placed on a bed of green stalks and thorns. The blooms are left to decay during the exhibition.
“I pull the heads off the long stems. I make a bed of the green, and then the heads of the roses are really tightly packed. So for a couple of days anyway there is this really fantastic surface which is velvety, really seductive and tactile. Because they’re slightly raised off the floor by the layer underneath, they dry into perfect rosebuds.”
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Michal Rovner’s distorted images
New-York based artist Michal Rovner (1957 in Tel Aviv) studied cinema, television and philosophy before enrolling at the Bezalel Academy of Arts and Design, receiving a BFA in photography and art in 1985.
Through multiple processing and re-shooting of the basic images and often adding colours, she creates an image several degrees removed from the actual reality she started with, yet retaining a haunting familiarity with it. She quotes Giacometti approvingly: ‘Has the artist erased enough data?’
Via / read more at BBC.
Outside (1990–91), distorted images of a Bedouin shack in the Israeli desert
Decoy (1991), distorted radar and surveillance images
One-Person Game Against Nature (1992–93), distorted photographs of people floating in the Dead Sea
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Franc Grom’s eggs
Slovenian artist Franc Grom creates amazingly beautiful and delicate eggshell art. A painstaking process, drilling one hole at time, a single egg will typically contain around 3,000 holes. In some the remaining connecting bits of eggshell are little more than a millimeter wide. Inspired by traditional Slovenian designs, his work ranges from asymmetrical botanical motifs to cut-outs that glow brilliantly when illuminated from the inside. Happy Easter!
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Pedro Batista’s evasion
Evasion is a series of large-format paintings by Portuguese artist Pedro Batista. His figures fade into motion seemingly captured for just a moment in time.
© Pedro Batista
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Sharon Core’s paintinglike pictures
In 2007 American artist Sharon Core recreated a number of still lifes by the 19th-century painter Raphaelle Peale, for her Early American series, by manipulating the surreally beautiful lighting and an assortment of objects ranging from flowers and fish to watermelons alongside genuine antique crockery and glassware.
© Sharon Core
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Nicola Samori’s destruction
Italian artist, Nicola Samori intensely disfigures his Renaissance influenced paintings using a palette knife, a scalpel, paint or his hands.
“I like taking the image to a breaking point, putting its form into danger. My work stems from fear: fear of the body, of death, of men. I think my nature as an artist is something like feeling hopeless. Works are just temporary shelters and painting is a leisure place where you can conceal yourself.” Quote via Huffington post
© Nicola Samori
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Ronit Bigal’s body scripture
Israeli artist Ronit Bigal meticulously presents excerpts from sacred Biblical texts on the human body in her Body Scripture II series by getting in close to the contours of the human form, re-imagining the body as an abstract landscape. Via My Modern Met
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Diana Al-Hadid’s “towers”
Diana Al-Hadid is a Syrian-American artist who lives and works in New York. Her sculptures take “towers” as their central theme, drawing together a wide variety of associations: power, wealth, technological and urban development, ideas of progress and globalism, problems of cultural difference and conflict. Her works are informed by myriad sources: Eastern and Western-ancient biblical and mythological narratives, Arabic oral traditions, Gothic architecture, Italian and Northern Renaissance painting, Islamic ornamentation, and scientific advances in physics and astronomy.
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Clara Lieu’s Falling
‘Falling’, a series of sculptures and drawings, visualises Clara Lieu’s personal experience with depression and anxiety. Unable to “release” herself from these episodes, she waited for the physical limitations of her body to end them.
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Patricia March’s perception of time
Spanish artist Patricia March was trained in Fine Arts and Cinematography, hence her interest in movement and time. She aims to incorporate a cinematic style in her drawings and captures movement in terms of her own time perception, which is something like water; it erodes and destroys forms while building new ones.
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Suzan Schuttelaar’s unfinished portraits
Suzan Schuttelaar is a Dutch portrait painter who’s seemingly unfinished portraits are simply stunning.
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Miya Ando’s softly lit leaves
Artist Miya Ando is of half-Japanese and half-Russian heritage and is a descendent of Bizen sword maker Ando Yoshiro Masakatsu. Her 2012 art installation Obon – named after the Japanese Obon Festival that commemorates the spirit of the dead and is said to guide ancestral spirits home with floating lanterns – consisted of a thousand ficus leaves coated in a non-toxic bioluminescent resin, floating in a small pond in Puerto Rico. During the day, the coating absorbed energy from the sun and when night arrived, each leaf would emit a soft blue and purple hued light.
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Cornelia Parker’s suspended sculptures
Cornelia Parker investigates the nature of matter often using materials that have a history loaded with association.
Cold Dark Matter, 1991. Parker had a garden shed blown up by the British Army and suspended the fragments as if suspending the explosion process in time.
Mass (Colder Darker Matter), 1997. Parker arranged the charred remains of a church that had been struck by lightning in Texas into a visual form looking like a suspended cube.
Anti-Mass, 2005 – detail. A companion piece for Mass, this time using charcoal from a black congregation church in Kentucky that had been destroyed by arson.
Source: Wikipedia
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Sylvie Guillot’s human tension and movement
French artist Sylvie Guillot (1972, Paris) started drawing in criminal courts, which in her view was the best drawing school imaginable; with just that element of urgency to get straight to the heart of the matter and produce a drawing that bears witness and shows emotions. Over the years her work has gradually focused more on the human figure, particularly the nude.
“I like the ideas of tension and movement, using compositions where the body seems either to stretch, to fall or to huddle up. I also like to emphasize the tension within the body by drawing contorted torsos, sharp shoulders or strong and nervous hands.”
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Rachel Coad’s hauntingly enchanting portraits
Australian artist Rachel Coad creates hauntingly enchanting portraits…
Sandie Stewart – acrylic on paper, 270cm x 300cm, 2005
Scramble No. 5 – oil on linen, 84cm x 152cm, 201
Fallout – oil on canvas, 198 x 122cm, 2011
Frontier I – oil on linen, 2012
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Fotini Hamidieli’s uneven surfaces
Greek artist Fotini Hamidieli lived and studied in the U.S. and Italy. She now lives in Greece where she paints and teaches art lessons.
“The bodies that are coming out in my work now are more abstract and their surface is uneven, dug up. I have an idea of what I want to do, an idea of the structure. I don’t know exactly where I’m going, just want to keep pushing my work further to keep discovering.”
Via Combustus
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Shelley Jackson’s mortal work of art
Shelley Jackson is a writer and artist known for her cross-genre experiments. For Skin Project (launched in 2003) she wrote a 2,095 word novella and published the story on the skin of 2,095 volunteers rather than on paper; one word per person. Words were handed out in the exact order of the story, so participants had no say in which word would be tattooed on their bodies. Jackson’s idea behind this was to create a “mortal work of art” that could “never be read in its proper order, but just exists, pulsing, out in the world at all times.” Via eNotes
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