Portrait of Two Women (1914) by Diego Rivera (1886-1957),
Mermersing Paper Art Made From Strips Of Colored Paper by Yulia Brodskaya
There are a million and one ways to make art of paper (as we proved in our paper art post), but there’s one artist who recently caught our eye (again). Yulia Brodskaya, an artist and illustrator born in Moscow, creates stunning works of art using the quilled paper technique.
While quilled paper seems simple at first glance, we’ve never seen someone whose work matches Brodskaya’s in terms of detail, color and expressiveness. This art is create by rolling or bending strips of paper and gluing their side to the surface. This makes them essentially lines, but the paper’s width gives these “lines” a depth that 2d art can lack.
Max Gasparini was born in Rovato (Brescia), Italy, in 1970. He currently lives in Bergamo Province. Self-taught, he has been paining since he was really young without the urge to show his work.
Max Gasparini’s artworks
His studies of Classic Painting are reflected in his intimate subjects: portraits, still lives, landscapes realized with oil colours and egg based watercolours on wood. In 2007 he “meets” the packing cardboard which frees him from the use of the easel and from the orthodox techniques. Max discovers the big brushes, the action freedom, the colour smearing and several other techniques, sometimes by chance, getting to the paradox of realizing his paintings with the paint remover. The female face as a whole, representation of the Universe (from Plato) and intended as a figuration of the Mother Earth is the subject of his work of the last 2 years. White paintins disappear, replaced by old rusty metal, yute, used sacks. No more word unknow, but a backward glance, using materials inspired by those who have already benefited.
Adeline de Monseignat Sculptures
Adeline de Monseignat is a Dutch-Monegasque artist who lives and works in London. Her project-based sculptural work investigates ways in which inanimate objects can trigger emotional responses and even hold a sense of presence and life. Since completing her MA in 2011 she has shown with Victoria Miro, at the Yorkshire Sculpture Park and at the Bleecker St Arts Club in New York, as well as winning the Visitor Prize of The Catlin Art Prize and being awarded a Royal British Society of Sculptor’s Bursary.
“ In my sculptures I am interested in finding harmony in the contrasting qualities of strength and fragility, with the aim of making the viewer reflect and smile, as my approach is one of an optimistic and playful artist. I like to incorporate qualities to my work inspired by Surrealism, the artistic movement that has inspired me the most. Surrealism has often proven to trick the viewer with visual illusions, which fascinates me. Through my art, I like to defy gravity. The main figurative subject of my pictures always seems to float within the canvas, without any help of a background to place the subject in either time or space. This also translates in my sculptures where gravity illusions are even more enhanced, as working three-dimensionally enables me to do so. These latter are often brought to life thanks to natural materials such as wood, metal and even eggshell. When it comes to inspiration, imperfections in nature are what trigger my curiosity - a drip, a drop, a crinkle, a wrinkle - an imperfection is the sole evidence of life. I am always on the hunt for the perfect defect; the thought or sight of something challenging - shades, lighting and reflections - will immediately arouse my craving for creating. Idioms, expressions, puns and play-on-words are also often the starting point of my work, such as the “˜chicken or the egg’ or “˜wild life’ Last but not least, I’m interested in building a dialogue between the art and the audience who I expect to respond instinctively through their impressions, feelings and senses. My aim is to make people live a unique experience through my art.”
I’m always so surprised that Dave McKean doesn’t have a bigger web presence. He has been one of my biggest artistic influences since a friend first loaned me a Sandman comic in the early 90s. His work is dreamlike, dark, disturbing, mysterious and deeply gorgeous. His work has always found a place deep inside of me where it connects. And in my opinion, he helped pioneer an aesthetic and style that is still found frequently in all creative outlets today, from fine art down to music videos and tv commercials.
McKean is a true mixed-media artist. His work combines drawing, painting, sculpture, found objects, digital art, photography and collage. He began as a comic artist, working with Neil Gaiman on such early projects as Violent Cases and Black Orchid. And then came their collaboration on the Sandman series, the greatest comic book/graphic novel series ever, in my humble opinion. McKean has also dabbled in film as well, directing the visually stunning film MirrorMask (a film so imprinted with his artistic vision, it looks like his art come to life), and the short films The Week Before and N[eon]. He is in post-production of another feature length film, Luna, which does not have a release date at this time.
McKean has worked on countless other projects, including the Batman graphic novel Arkham Asylum: A Serious House on Serious Earth, the graphic novel Cages, CD covers for such musicians as Tori Amos and Skinny Puppy, and designed sets and directed film clips for the Broadway musical Lestat to name a few. He even is an accomplished jazz pianist. Seriously, I can’t even begin to list all what the guy does.
Sarah A. Smith’s Corroded Gold Leaf Drawings
Sarah A. Smith creates shimmering gold drawings with a combination of gold metal leaf, corrosive, ink, and pencil on paper. After she arranges the metal leaf that was mined and manufactured in China, she brushes it with copper sulfate, causing a chemical reaction that tarnishes and corrodes the gold metal along the surface of the . In the natural environment, this erosion process can take hundreds of years to complete. “The oxidation illustrates pollution, disintegration, transformation of elements, changes, and the passage of time,” Smith says. The result is an incredibly detailed and textured series that while extravagant is also evocative of restraint because it emerges from a process of decay.
Claudine O’Sullivan is an Irish Illustrator based in London. Favouring traditional techniques, her style is an expressive balance of realistic form and abstract colour.
Claudine’s portfolio covers a wide range including serious and socially engaged campaign projects, fashion editorials, exhibitions and colourful print work.
Clients include: MTV, WeTransfer, Derwent Pencils, Lomography, DASH magazine, Berlin Quarterly, Sanoma NL, BlaBla Music, Print Club London, KK Outlet, Squint Limited and Phoenix Magazine.
Check out her tumblr.
Japanese artist Akira Nagaya creates insanely intricate paper cuttings called kirie that look like delicate pencil drawings or wire sculptures.
Nagaya discovered his talent in his early 20s when he was learning sasabaran – a technique for cutting food decorations from bamboo leaves at sushi shops. When he practiced on his own using paper and a utility knife, he realized that he was good at it and that he enjoyed it. Only later in his life, though, did he start to look at his paper cuttings as art and display them to the public.
Born in Recife, Brazil, in 1962, Mozart studied architecture at University Federal of Pernambuco and obtained his degree in 1986. He worked as a set designer for theatre, cinema, and TV in Brazil while developing in parallel his work as a sculptor.
Mozart has been living and working in Paris since 1992 and has taken part in several individual and collective exhibits in art saloons and art galleries in Brazil, France, Canada, Germany, Belgium, Portugal, Spain, Luxemburg and Italy.
Auguste Clésinger (1814-1883), Femme Mordue par un Serpent - 1847
Sylvia Evers makes her ceramic sculptures, poetic, hushed performances, by using the human body, symbolic acts and animal forms. Use Her animals sometimes have human traits and people sometimes something animal thing. One by Evers often depicted animal is the deer, armed with horns or antlers just made a pile of clothes for the next day, or as victims themselves thoroughly reflective of the hunt. Evers can thus display a deer, as if you’ve discovered the net itself in the deserted woods. They do the same with a human figure. Again, you get the feeling of being unobserved and vulnerable in existence. It usually white colored ceramic enhances the look of innocence and beauty of the images. Recurring themes in his work Evers vulnerability and introspection. Besides these introspective silence, she reflects on the interaction between doubt and belief. "Beauty lies before me in the human inability, close to the emotions and desires, inherent existence. Therein lies the existential struggle in which no one escapes. “