new york NEW YORK
opening for nicholas DI GENOVA’s solo show
thursday feb 4th, 6-8pm
fredericks and freiser Gallery
536 W 24th Street
new york new york
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brussels BELGIUMapostolos MITSIOS: what is the working process that is hidden behind your creations?
geraldine GEORGES: i don’t have a secret process. i just mix collage/cutting of pictures with drawing made with a rotring, trying to inspire a certain feeling and emotion to it. i put everything together and i try to find the perfect balance and purity. i don’t like over-ornated and loud work. i like simple, clear and direct things…there is no need to overdo.
photograph by france DUBOIS
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new york NEW YORKsuckerPUNCH: describe your project.
leah RAINTREE: excerpts / the incredible machine is an ongoing drawing series that re-imagines mechanics of the human body. referencing an antiquated anatomy book of the same title, descriptive images and text are sampled to invoke complex but unreal systems for sustaining life. organic and technological elements work in tandem as these systems develop and adapt over time.
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toronto CANADAthe work of chow martin renders surfaces of skin and fur as detailed muscular armatures. nested lines vary in scale in order to create sophisticated variations in differentiation that flow effortlessly along their surfaces. this brother duo comprised of sean and colin chow combine their talents through ink on paper to create intricate compositions that are now infiltrating everything from typography to wallpaper.
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front range COLORADOsuckerPUNCH: describe your project.
oscar WOODRUFFthis is an ongoing project that i’m basing multiple bodies of work upon. it’s a contemplation on the idea of a universal organism. the current focal point being; the evolution of the natural world. also, the role of the human mind and technology is a keynote . it is a series of visual metaphors, extremely futurist in their thinking they attempt to represent the evolution of technology as a complex and intelligent organism in a worldwide and perhaps universal system that goes beyond organic being.
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sao paulo BRASILthe swirling monochromatic forms of brazilian street artist herbert baglione manifest themselves in multiple ways from urban walls to adidas sneakers. his work capitalizes on the expansion and contraction of line as its curvature transforms to define figures and text. baglione says of his beginnings as an artist, “i started to draw over photos like putting horns in their head and knives in their hands, like every child does.” if only all kids were fascinated with horns and knives.
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oslo NORWAYdashed line, a series by graphic designer hans christian, thrives off of a density of line. the lines themselves are not simply dashed, but range in point and texture while remaining in a greyscale pallet. through an intense build up, these simple lines emerge to form fields with multiple readings shifting from single figure to pattern. monolithic shapes are panelized through lines that subtly trace the geometry of the forms in an intriguing fashion bordering on the clinical.
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honolulu HAWAIIferic: design is not only a game, but also a tool by deconstructing the concept. it needs to be destroyed in a creative way. the structure of the objects would emerge by breaking up and reconstructing themselves. new possibilities and values would be found out through the process of reconstruction. compare the new model being reconstructed and the original one. a discussion would occur upon the topic. the discussion is open-minded and public. this is the core stone of the design. this is the core value of design.
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san francisco CALIFORNIAcomputer arts projects magazine: “some things stay consistent, though,” she adds, “like luxury and elegance,” before reeling off a comprehensive list of loves: “french victoriana. icons. solid gold. classic contemporary. femininity. textile patterns. pin-ups. colour combinations. si scott. deanne cheuk. andy warhol. baroque furniture. old magazines. vintage postcards. wild america. friends. family. love. lust. ornamental embellishments. decorative text. romance.” it may seem impossible to mix warhol with french victoriana, but a glance at some of stouffer’s magazine illos might convince you otherwise. “i’m always picking up new inspirations, learning, discovering. i’m kind of like a sponge.” she pauses. “one that can’t hold anything.”
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london ENGLANDsi SCOTT: i always start by picking a font I feel fits the brief or works with what I am trying to achieve the piece and then will play around with different page layouts for a while. the next phase is to just bring the piece to life using fineliners to create the illustration. i always work bigger than the finished piece is going to be and scan the illustrations at 1000dpi at 125% so when it is decreased to the actual size it’s very crisp and clean.
interview: typeforyou.blogspot.com
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