Total Pageviews

Bernard Cunì

pOrnomental (Fetish): digital art from porn.
Volumetric shapes generated from xxx rated images represented as physical objects.

Cumulunimbus: suspended lamp shaped as a big cloud.

Bernat Cuní is a mediterranean designer from Barcelona based in Hong Kong.
Found at PornSaints.

Andreas Fischer

Palatine by Datdatdat.
Datdatdat is the moniker / online presence of Andreas Fischer, artist, designer and director from Berlin.

Don Brown

Don Brown was born in Norfolk in 1962 and studied at Central St Martins School of Art and the Royal College of Art from 1983-88.
More at Almine Rech Gallery and Sadie Coles Gallery

Kate MacDowell

Goodbye Kiss, 2008. Casualty, 2009. Crave, 2006. Invasive Flora, 2009. Canary, 2008.

''I’ve lived and worked in many different environments and cultures that have influenced the way I perceive the world, and therefore my pieces. These experiences have ranged from teaching in urban high schools and producing websites in the high-tech corporate environment, to volunteering at a meditation retreat center in rural India a few hours outside of the fever pitch of Bombay. I’ve also collected visual imagery and ideas from my travels through Renaissance Italy, Classical and Minoan Greece, Nepal and Thailand.

Upon returning to the United States in 2004, after a year and a half working overseas, I began to study ceramics full-time at the ArtCenter in Carrboro, North Carolina and later at Portland Community College's Cascade campus and the Oregon College of Art and Craft's community education program. I am currently a member of the Oregon Potters Association. I have also studied flame-worked glass at the Penland School of Crafts in North Carolina, and participated in an artist residency at the Watershed Center for the Ceramic Arts in Maine.''

Kate MacDowell.

Jaroslav Kysa

"In oil we trust", 2009

Left: "pitch", 2006. Right: "1 cm3 of oil", 2008 and "untitled", 2007.
Works by Jaroslav Kysa

Marco Testini

Marco Testini was born in Bari (Italy) in 1987.

''Conception, reproduction, dissemination of the artwork which in my case it becomes a gadget, a gift for any event.
In similarity to the reproduction of the coins, too, I thought of playing, using an unusual coin, a small object affordable to anyone and sell it through the web documenting sales and comments from the buyers.''

'Magnetic lips' by Marco Testini.

More details:

Matias Faldbakken

Matias Faldbakken (born 1973 in Hobro, Denmark) is a Norwegian artist and writer. Faldbakken studied at the National Academy of Fine Arts in Bergen and the Städelschule in Frankfurt am Main.

Found at The Supermarket
more at Contemporary Art Daily and Ikon Gallery

Aleksandra Rdest

Pocket Storms and Other Mylars, 2009

Aleksandra Rdest uses a language drawn from weather patterns; inspired by sound waves, clouds, particles and cells on a microscopic level. The point of departure for these works is growth and decay; cellular division and multiplication, weather patterns biological colonization. Rdest’s love affair with colour gives rise to these paintings which are created by richly layering veils of paint to form a deep surface.

Through painting Rdest is reaching for the sublime; the tragedy of yearning, the mockery of the unattainable just beyond her grasp. This mingles with the caricature of the gesture; it enters with a flourish, sashays into the picture plane only to be overtaken by growth.

As the viewer relaxes their vision the hidden nature emerges, the nature that is collecting in the corners, multiplying until it is no longer hidden. Within this space cells begin to organize. Do they build cities or do they build cell walls? In the space Rdest creates these forces are interchangeable, organic and synthetic are synonymous. Rdest is exploring a place where nothing has been untouched by humans; where.

Leanne Eisen

Scanner Experiments by Leanne Eisen

Leanne Eisen is an emerging photo based artist living in Toronto, Canada. She has recently exhibited her work at O'Born Contemporary, Pikto Gallery and at 401 Richmond as a part of Nuit Blanche. Her work has been selected for the 6th Annual Toronto Timeraiser, Photorama at Gallery TPW and won best Still life/Abstract Photograph at the SNAP!09 Photo Auction. Eisen's photographs are often voyeuristic examinations of real and imagined spaces. She places curious details within these spaces, allowing subtle narratives to emerge.

Ansen Seale

Heisenberg Figure

n.19 and n.13,
from the Series: Temporal Form

River of Light

from the Series: X and Time: a dimensional exchange

Artist Statement

Over the past 10 years, I have pursued a little-known genre called slitscan photography. Far from being just a visual curiosity, it has become a substantial tool for the exploration of themes meaningful to me. I have found slitscan photography to be an excellent vehicle for ideas central to my work-- ideas about time and our place in its continuum.

It is important to understand that these images are not manipulated. This is the way my camera sees the world

Rather than suspending a single moment, my photography examines the passage of time. To accomplish this, I invented a modern digital version of the panoramic camera. In my version, a single sliver of space is imaged over an extended period of time, yielding the surprising result that unmoving objects are blurred and moving bodies are rendered clearly. The model in the studio must move in order to be captured. In the Water series, the stones in the river do not move, and so, become stripes. The water flowing past them perturbs their static image, creating a kind of color field painting. This is no trick. This is photography in the purist sense, but a form of photography where abstraction is the norm, not the exception.

Instead of mirroring the world as we know it, I believe this camera records a hidden reality. Like a microscope or telescope, the machine expands our ability to perceive more about the nature of reality. The apparent “distortions” in the images all happen in-camera. So, when the real world is this beautifully bizarre, manipulation is unnecessary.

I tease out this unusual reality lurking just beneath the surface of our everyday visual experience in the same way the cubist painters created dynamic tension by exploiting the interplay between what the viewer expects and what she gets. As photography is traditionally the rendering of real-world objects in two dimensions, that same creative tension arises in my work because, in effect, it discards the horizontal dimension and substitutes for it the fourth dimension, time.

Ansen Seale