I know the psychology of color dictates that blue is symbolic of sadness, but it always conjures the quiet of standing water for me. It is always of surprise to me that blue is the most commonly-claimed “favorite color” (my own is red). But I doubt the popularity of this hue is of any question of today’s Artists of the DayJason Hallman & Stephen Stum of Stallman Studio. And it IS the perfect work and hue to feature with today’s Blue Call.(continues below)
Detail of“Rising Currents”by Jason Hallman of Stephen Stum of Stallman Studios
“Stallman is pioneering a new technique using paint and canvas as sculpture, naming this body of work Canvas on Edge. They are taking canvas and paint and giving it a creative edge. Now the canvas has the leading role, creating form, highlight and movement. The cut edge of the canvas creates an elevated line drawing and when seen at an angle, fields of color emerge as your perspective to the piece changes. The hue of the painted canvas reflects on the background creating a spectrum of color. By using reflecting light, pigment and structure they can multiply the hues and tones within each sculpture.” –from stallmanstudio.com
It is time for holiday mayhem again. I want to encourage you to just say “no”. I’m not suggesting you expect your five year old to give up gifts in lieu of a shiny red apple. But I do want you to give up the undue pressure to make anyone’s holiday perfect, including your own. I do want to encourage you to use your resources in support of the the people you love and what they can offer or create in this world. Make it have heart or just say “no”. Today’s Artist of the DayJan Huling offers the most literal example of that concept I can imagine. Enjoy. (continues below)
“My 3-dimensional collages combine found objects with surface design, sometimes touching on narrative themes. I’m also drawn to religious and political icons, inspired by a continuing fascination with indigenous or popular culture and world religions. By juxtaposing these icons with an eclectic assortment of objects, the viewer is challenged to consider common images within an altered context. The [construction] process is slow and meticulous, zen-like, with the choice of forms motivating color schemes and iconography.” — Jan Huling
I have experienced so much loss in my lifetime. In the late 1980s & early 90s, I lost dozens to AIDS & a handful with HIV to suicide in the throes of gripping fear. Beginning in the mid 1990s, the prognosis of those living with HIV+ opened up to a hopeful future as the expectation, not the exception. Today’s Artist of the DayEric Rhein creates intimate work that addresses the full scope of emotion surrounding diagnosis and post-diagnosis living. And, with the approach of World AIDS Day, December 1st, AAAD is privileged to share this work with you. (continues below)
“Rhein’s considered and intuitive use of repurposed objects is a hallmark of his work. The act of giving such cast-offs a new life mirrors the artist’s own spiritual path. Rhein felt a calling to address the universal aspects of the human experiences-particularly its vulnerability, resilience, and possibilities for transcendence—as experienced after his diagnosis with HIV in 1987.” –from ericrhein.com
I have a love for the written word, both for content AND form. I good sign for anything–barbershop, hardware or boutique, will make my heart skip a beat. I may have found my soul mate in today’s Artist of the DayDanielle Evans of Marmalade Bleue, whose “heartstrings are plucked by lettering”. Did I mention that she uses mostly food? I know… soul mates. Plus, what better ART to pair with today’s ART DEADLINE? (continues below)
“Love You more than Pizza”by Artist of the Day Danielle Evans.The pizza image was carved blindly without stencil, using 4 mediums, eventually executing the final on a extra large, 16″ diameter pie.
“As a kid, I loved making Valentines and dropping them in my classmates’ handmade holiday boxes with a piece of candy. This year I realized Instagram had adopted a direct message box requiring a private image to start a discussion which reminded me of this nostalgic practice. I set to work on the theme ‘Love You More Than…’ and sent over 250 private message Valentines with personal notes to the recipients. I pulled every pun, sparing no dad joke. This was about more than love.” –Danielle Evans
If the life of American artist Margaret Keane, famous for drawing portraits & paintings with big eyes, taught us anything, it is to be careful who you trust with your name, with your work — with your legacy. Today’s featured work leaves me with the same words of caution. AAAD is happy to share the work of Stockholm-based artist Amanda Senneby, our current Artist of the Day, with you. (continues below)
“A self-initiated book project with the working title Small Men Great Women. The purpose of the project is to tell the story about successful couples where the women have been neglected in the historiography in favor of their men. I want to examine a simple way to communicate and pay attention to a difficult and inaccessible subject.” –Amanda Senneby
The Smoky Mountains are celebrated for the vivid colors of fall, but those of us in the know appreciate the desaturated hues of winter. We rarely get the opportunity to celebrate artists that live so close, so we are excited to share the work of Asheville-based artist Laura Sellers, our current Artist of the Day, with you. (continues below)
“The summer series of crates were my first attempt at abstract painting on a 3-dimensional form using the desaturation scale. The entire palette was created from the combination of two complementary colors (yellow-green and purple) that when combined form a neutral grey. The colors matched the rainy summer days of the mountains perfectly, and the abstract lines mimic the horizontal landscape lines.” –Laura Sellers
Some days are heavier than others. In contrast, we’d like to share the work of Motohiko Odani, our current Artist of the Day, with you– fiberglass reinforced plastic & urethane paint. (continues below)
“Odani’s works on the themes of physical sensations and psychological states, such as pain and fear, awaken latent thoughts and emotions in their viewers.” — Mori Art Museum, Tokyo
While reviewing work, I searched through entries for something contemplative but with a sense of humor to feature this month. A little something that would spice up my winter, combating the inevitable doldrums, as well as help me find a different angle on my the serious nature of my own current work. We are proud to Feature the work of A. Laura Brody. I find this work organic but mechanized, self-evident but not obvious. Inspired…
A. Laura Brody is a costume creator by trade and a functional artist by design and desire. You’ve seen her recent work for designer Michael Schmidt on LMFAO at the Superbowl 46 halftime show, the last 2 Black Eyed Peas tours, in Fergie’s LEGO dress and on Rhianna’s bottom.“I love bringing out discarded items and materials and making them the center of attention. Zipper teeth become lace edgings, ball bearings act as pendants and centerpieces, remnant snap tape becomes footlights and old tablecloths are reborn into upholstered cushions and deconstructed finery. My creations help people tap into childhood dreams of becoming heroines, kings, rock stars and super villains.” — A. Laura Brody
Rocking Duck Boat by Featured Artist A Laura Brody and Alan deForest – photo courtesy of Heidi Marie Photography
Are you self taught or formally instructed?“I’m both. I’m a costume maker and designer by trade, and my years of costume craft work have really made it possible for me to make the art. The upholstery is self taught and so is the carpentry. But I’ve got a longtime habit of tinkering. I get to use my technical skills in really different ways when I construct my artwork. It’s also pushed me to learn to weld and curve metal, how to refurbish stainless steel and silver plate, a little about wiring… Mostly, it’s teaching me patience, which I’m not so good at.”
The work for which many artists know you is mobility-centric. What brought you to that passion? I don’t self-identify as disabled. I have friends who do, though, and I’ve worked around quite a few folks who use disability and mobility devices. When a former boyfriend had a stroke, I spent a lot of time with his recovery and got really fascinated by all the devices you can get to help with food prep and getting around in the bathroom and such, but I was shocked at how uniformly ugly they all were. 3 years ago, I cracked my tailbone and then went through a nasty bout of tendinitis, which started me working on my own posture issues and thinking about what I would do if I couldn’t use my hands. It was pretty terrifying, since my hands are a large part of how I make my living.
Those tendinitis braces
are hideous.
Re-making a wheelchair into something amazing was in the back of my mind for a long time, and I finally got the guts to approach a wheelchair using friend of mine about redoing his old electric one. (Thank you, Peter Soby, for kick starting this idea!) One of the responses I get with my mobility artwork is how impractical the pieces are. People will go on at great lengths to tell me why they won’t and don’t work. But then, they start thinking about what might work. This is the whole point. How else do we get that conversation started? If we’re lucky enough to live through age and injuries and infirmity, wheelchairs or walkers or crutches or prosthetic limbs are going to be in our future. For some people, these devices are a part of their everyday lives. Why not make them amazing? And who said design was only about being practical?
Le Flaneur by Featured Artist A Laura Brody – photo courtesy of Heidi Marie Photography
Is sustainability a purposeful choice in your work or a by product of what you do?It’s a flat-out fascination and a longtime practice. I grew up in Alaska and was surrounded by people who took a lot of pride in figuring out how to make and fix things themselves with whatever they had around. I compost, I reuse in my artwork and everyday life, and I’m finding ways to do better with reducing my waste. I just read Junkyard Planet by Adam Minter (all about his travels in the global trash trade)and was fascinated and horrified. Check it out. You may never use another plastic water bottle.
Part of it comes from how much waste I see in the entertainment industry, which I’m a little horrified to be a part of. Yes, I know, this is biting the hand that feeds me. But you should see the waste that comes out of a TV show. Truthfully, though, it’s hard for me to go past a salvage yard or a thrift store or a junk pile without some piece calling out to me and begging me to take it home.
Talk to me about what media you consider the mobility-inspired work? “I call it over-the-top functional art. The works aren’t conveniently functional, which is kind of the point. The wheelchair and the walker’s GPS unit works (as long as I’ve charged all of the batteries), the walker rolls and the rocking chair rocks. They’re even pretty comfy. ”
What style or school of art do you think your mobility-inspired work fits into? And why do you think so? Apparently I fall into a Steampunk category. I guess I see why, even though a lot of Steampunk seems to be about smacking a gear or goggles onto your clothes and calling it Art. But I like to think of my work as being like a mad scientist, poring over old junk and fitting it together in odd ways to bring it new life. Is that Reconstructivism?”
Driven by Featured Artist A Laura Brody – photo courtesy of Heidi Marie Photography
I can’t wait to hear about your favorite food. “There are so so many of them! Truffle oil on cooked veggies is a recent find (so good), so are bison burgers and home-cured bacon (both pork and lamb) and just about anything in spicy coconut cream curry. I love fresh herbs and berries and almost all veggies. I cut out wheat a while ago. It was hard at first, and now I feel a lot better.” Editor’s Note: Spicy coconut cream curry? That sounds so good I could take a bath in it. I vote we make that the food of the year. Yum.
What style or school of art do you think your work fits into and why?“I’m comfortable with the surreal label, since Surrealism is an effective umbrella term for unusual artwork. I also feel that certain artworks of mine have Abstract and Visionary elements to them, though I don’t align myself with those movements.”
What about snack foods? “All things crunchy. I could eat a whole bunch of celery. Hearts of palm, cheese of many kinds and pickles and olives of many kinds, especially the spicy Sicilian blends. Mmm. Pickled foods.”I have a newly acquired addition to pickled foods–beets, in particular.
So, what’s coming up next for you? “I’m looking for a gallery to put up a 2014 Opulent Mobility, together with many more artists who want to re-imagine mobility. If anyone knows of a space that’s really chair and walker accessible, I’d love to hear about it! I’m also putting together a piece to submit to the World of Wearable Art in New Zealand. I want to make expanding nebula wings come off the back of a wheelchair (idea in process), and I just shot some video to put together into online tutorials for staple draping. At some point I may get it all done.”
Laura,thank you for being our mad scientist!
You have probably worsened my desire to salvage beautiful discarded treasures. My husband calls it hoarding. I’ll send him to this post for a better understanding of how it all works. I am inspired.
The mission of AAAD is to inspire artiststhrough resources, opportunities, and the work of your contemporaries. Should you be our next Artist of the Day? Be sure to let us know. AAAD is proud to feature the work of painter Kris Wlodarski.
Krzysztof Wlodarski, aka Kali, born in 1977 in Poland. Graduated at University of Zielona Gora, Poland in philosophy. Wlodarski, influenced by the art of Gottried Helnwein, Saturno Butto, Joel Peter Witkin and modern Bodyart movements, is now showing a series “The Sleep of Reason.” Wlodarski is also musician , film-maker, and tattoo artist, living and working in London.
Wlodarski says, “These works are reflecting a head-on collision between the primary sphere of instinct (sex & violence) and the secondary sphere of culture (taboo). This leads to a sort of synthesis, its necessary result being a transgressive form of art.
“I call it ‘The sleep of reason,’ a reference to Goya , because this is the manifestation of all that is pre-rational, anti-enlightenment, anti-creative. It is about the moments of insanity when the language and logic are suspended in favour of primal drives that are otherwise subject to suppression by cultural structures.”
Plagued by anxiety and bitterness from a devastating illness, Francisco Goya(1746 – 1828) created “The Sleep of Reason Produces Monsters,” one of 80 etchings in his “Los Caprichos” series–scathing critiques of human errors and vices of contemporary religious and political figures. “The Sleep of Reason Produces Monsters” portrays Goya, often believed to be the Father of Modern Art, hounded by creatures that threaten the ignorant mind. Goya believed that imagination, combined with reason, would keep these monsters at bay.
I am drawn to the passion with which Wlodarski’s interprets his vision of contemporary culture–shaped by sex and violence, destruction and morbidity. The connection to Goya, and sometimes startling lack of connection, is a comment on Wlodarski’s view on where we are as a culture today. His striking use of color gives us a momentary glimpse into the moments of insanity between the rational thoughts. The moments without control or norms.
It is easy to feel transported to another place or time by these works, and maybe that’s the sugar that makes it easier to take the medicine–the knowledge that we are all there, on the cusp, all the time. It is…the buttery taste of scotch with the charred character of bourbon.
