There’s a great video up on SoundWorks Collection today featuring Beau Anthony Jimenez, sound designer at Naughty Dog, who shows off some of the ways the sounds for The Last Of Us 2 were recorded since there were no actual fungus zombies to stick in the recording booth.
Currently virtually on view at Thinkspace Projects in Los Angeles, California is artist Ermsy’s solo exhibition, “Took It Easy.”
Fascinated by American pop culture as a readily accessible, visual vernacular, Ermsy’s take on its beloved illustrated characters is both satirical and participatory. These adult-themed bastardizations of Garfield, Loony Tunes, The Simpsons, and the like, are simultaneously elated and anarchic in their absurd display of debauchery like tendencies.
Using familiar characters provides Ermsy with a set of pre-established imaginative boundaries within which to work. Like a hot-boxed descent into an alternate universe of nostalgic psychotropic Saturday morning cartoons, his world is a playful subversion of familiar, pop cultural fodder.
“I love pop culture,” Ermsy explains, “and I love exploring it.” His graphic exploration of pop culture uses popular cartoons in the same way that graffiti writers use letters. “Using well-known characters provides me with a base point, a frame to work within,” he explains. “With graffiti, the idea is to pick some letters from the alphabet, then go crazy with them or do whatever you want. Everybody starts with the same base point, and that’s graffiti. My starting point is to use characters in my artwork.”
London-based artist Daisy Collingridge layers amorphous blobs of fabric and textiles to form wearable pastel-colored body suits. With names like Burt, Clive, and Lippy, each member of Collingridge’s family has a personality that matches his/her form. Inspired by human anatomy and infused with elements of fantasy and impulse, the artist says that the costumes are an exercise in “pushing quilting to the absolute extreme.”
Each new character begins with the construction of the head. Hand-dyed jersey and other fabric patterns are filled with plastic pellets (beans) and sewn together to form blobs in various shapes and sizes. After the underlying body structure has been formed, Collingridge begins the process of hand-stitching the blobs to the wadding. She tells Colossal that she has never clocked the process but would estimate that it takes around two months on average. The “Dave” suit is named for and modeled by her father who requested it. The others are named “like children,” and are worn and photographed by the artist herself using a remote.
Progress shot
After graduating with a degree in fashion design from Central Saint Martins, Collingridge created her first costume in 2016 for the New Zealand-based design competition, World of Wearable Art. “The squishy idea definitely came from my graduate collection, which was all free machine quilted, but all done with really fat wadding,” she told Dazed Digital. “It wasn’t really your traditional patchwork quilt.”
Some have read Collingridge’s costumes as a commentary on body image and body ideals. “It’s really fascinating because as much as I can tell people what they mean or why I make these costumes, everyone comes at it with such a different view,” she told Dazed. “They are reflective of the human form with elements of fantasy. They neither promote or demote one body type. The idea there is an ‘ideal body’ is ridiculous. We are all so different, my work is more about the ‘ideal’ way to inhabit a body. To be joyous. They bring me joy to create and I hope that is reflected.”
Collingridge tells Colossal that her “Clive” costume is currently on tour as a part of 62 Group’s Ctrl/Shift exhibition, while the rest are at her human family’s home. “My dad unpacked Dave, who has been sitting in the living room over the festive period. He was even treated some Christmas lights.” To see the artist create and model the squishy bodies, follow her on Instagram.
“Offerings” (2019), Pen, watercolor, ink, gel pen and colored pencil on paper. 26.75 x 42.5 inches
Sinuous, intertwined wildlife bridge worlds of the living and the dead in Lauren Marx’s intricate multi-media work. Twisting fox heads, disemboweled deer, and lambs bursting with flowers and birds are rendered with watercolor, ink, pen, and colored pencil. Marx often places her animal compositions on semi-abstract backgrounds, awash with grey tones that give a sense of weightlessness to the dense drawings by evoking fog or clouds.
The artist, who resides in her hometown of Saint Louis, Missouri, cites frequent trips to the Saint Louis Zoo, biology classes, and National Geographic television shows as cultivating her lifelong interest in animals. Her latest body of work debuts December 14, 2019, at Corey Helford Gallery. The show, titled Chimera, is an evolution from her previous pieces, combining multiple animals into each artwork to combine their symbolic meanings.
“From Our Flesh” diptych (2015), Pen, ink, colored pencil, graphite, and gel pen, 17.75 x 10 inches
“Chimera further explores my concepts of fauna representations of emotions, personal mental health, family, and self,” Marx shares in a statement. “I am creating a mythological world, centered around North American flora and fauna, to better expresses my image of who I am, how I am perceived, my struggles with mental health, and to explore self-healing.”
Marx studied Fine Art at Webster University and draws inspiration from zoology, mythology, scientific illustration, and Northern Renaissance themes. The artist shares with Colossal that in 2020 she wants to continue to challenge herself technically and conceptually, and that works in the Chimera show brought her practice to new levels in terms of scale and complexity.
See Chimera through January 18, 2020, at Corey Helford Gallery in Los Angeles, and explore more of Marx’s intricate illustrative artwork on Instagram. The artist also offers prints and stickers on Etsy.
“Honey” (2019) Pen, watercolor, ink gel pen, gouache and colored pencil on mixed media paper, 31 x 37.25 inches
“Self-inflicted” (2016), Pen, ink, graphite, colored pencil, and gel pen on paper, 20 x 20 inches
“Nested Fawn” (2019), Pen, watercolor, ink, gel pen, gouache, and colored pencil on mixed media paper, 25.75 x 40 inches
“The First” (2016), Pen, ink, graphite, colored pencil, and gel pen on paper, 20 x 24 inches
“Snake-Bird” (2019), Pen, watercolor, ink, gel pen and colored pencil on mixed media paper 20 x 38 inches
“The Second” (2016), Pen, ink, graphite, colored pencil, gel pen, and acrylic on paper, 20 x 24 inches
“Lovely” (2018), Pen, watercolor, ink, colored pencil, gel pen, and graphite on paper, 17.5 x 22 inches
Steven Russell Black’s horror-filled paintings and drawings have a cinematic quality. Black refers to himself as a "painter with an obsessive compulsion to champion the odd, fringe, or otherwise unappreciated." In his drawings, these scenes and characters carry an even more ghostly quality.
Opening on Saturday, October 5th, 2019 at KP Projects in Los Angeles, California is artist Johnny KMNDZ Rodriguez’s solo exhibition, “Year of Atomic Bird.”
In “Year of Atomic Bird” the artist creates a series of paintings where a society of birds has taken it upon itself to save humanity. These birds represent thought and imagination, transcendence and divinity, freedom, strength, illumination, and empowerment. Making an appearance for the first time are four legged allies in the form of watchful wolves that represent guardianship, ritual, loyalty, and spirit. Both birds and canids become a source of higher knowledge, elegance, and purity that create harmony in an otherwise chaotic environment. The contrast between rusted weapons of destruction and actively flourishing animal life and vegetation is key to the artist’s message. By preserving, rebuilding, and guarding stewardship traditions that seem to be under attack, the “Year of Atomic Bird” shows a glimpse of a culture and society that has important choices to make.
The exhibition will be on view until November 2nd, 2019.
Steven Russell Black’s horror-filled paintings and drawings have a cinematic quality. Black refers to himself as a "painter with an obsessive compulsion to champion the odd, fringe, or otherwise unappreciated." In his drawings, these scenes and characters carry an even more ghostly quality.
