Rescuing wild animals are not easy, it takes many considerations and careful plans to make sure our intervention doesn’t make it worst. WildLife Drone is a conceptual project specially designed to help rescue team when they need to rescue wild animals. This unmanned aerial vehicle can be used to inject several things such as hormonal […]
Currently virtually on view at Lancaster Museum of Art and presented by Thinkspace Projects as part of their curated exhibitions, “The New Vanguard III,” is artist Alex Garant’s exhilarating new body of work, “Deconstructing Identities.”
Not unlike the fugitive flicker of a screen or the spectral layering of multiple film exposures, her portraits reveal an unsettling multiplicity, shifting beneath the subject’s surface. Garant creates faces that challenge the optics of identity and the reductive way in which it is perceived, with a visual gimmick that quite literally dislodges and displaces its coherence to produce skittering psychological images of fracture and ricochet.
Garant has long been fascinated by the interaction of patterns and symmetry, and the resulting optics of their graphic repetition and layering. Her portraits begin with a series of superimposed drawings based on her sitters, actual individuals, and muses from her life, and pushes the familiar confines of portraiture to a newly strange and re-sensitized place of sensory confusion. Her subjects and their energy seem to erupt from within, testing the tensile seams of the skin, the body, as always, an insufficient vessel for the incongruous experience within.
The artist’s labor-intensive oil paintings are meticulously executed, often incorporating patterning or other graphic elements and motifs to produce reverberating visual effects. Her color palette ranges from the subtlety of realistic flesh tones to hyper-colored gradients, saturated pastels, and translucent gem-like washes of color. Her stylizations of these vertiginous portraits thrive in surreal kitsch to interrupt the apprehension of the subject, activating a process of invested viewing, that is of trying to “see” the person amidst the trappings of hallucinatory visual interference. The compelling and somewhat unsuccessful process of attempting to stabilize the image produces a fundamental feeling of perceptual instability, one that intensifies our stolen communion with an evasive subject.
Currently virtually on view at Lancaster Museum of Art and presented by Thinkspace Projects as part of their curated exhibitions, “The New Vanguard III,” is artist Alex Garant’s exhilarating new body of work, “Deconstructing Identities.”
Not unlike the fugitive flicker of a screen or the spectral layering of multiple film exposures, her portraits reveal an unsettling multiplicity, shifting beneath the subject’s surface. Garant creates faces that challenge the optics of identity and the reductive way in which it is perceived, with a visual gimmick that quite literally dislodges and displaces its coherence to produce skittering psychological images of fracture and ricochet.
Garant has long been fascinated by the interaction of patterns and symmetry, and the resulting optics of their graphic repetition and layering. Her portraits begin with a series of superimposed drawings based on her sitters, actual individuals, and muses from her life, and pushes the familiar confines of portraiture to a newly strange and re-sensitized place of sensory confusion. Her subjects and their energy seem to erupt from within, testing the tensile seams of the skin, the body, as always, an insufficient vessel for the incongruous experience within.
The artist’s labor-intensive oil paintings are meticulously executed, often incorporating patterning or other graphic elements and motifs to produce reverberating visual effects. Her color palette ranges from the subtlety of realistic flesh tones to hyper-colored gradients, saturated pastels, and translucent gem-like washes of color. Her stylizations of these vertiginous portraits thrive in surreal kitsch to interrupt the apprehension of the subject, activating a process of invested viewing, that is of trying to “see” the person amidst the trappings of hallucinatory visual interference. The compelling and somewhat unsuccessful process of attempting to stabilize the image produces a fundamental feeling of perceptual instability, one that intensifies our stolen communion with an evasive subject.
Starting in Miami and travelling through the southern states of the US before ending in Palm Desert, California, Street View Road Trip explores a variety of American landscapes.
Using only Google Street View for reference, the paintings make use of the distorted perspective created by the revolving camera to create scenes that are both vivid and detailed yet eerily still. The streets are empty, a parked car sits outside a motel, a single car follows in the distance.
The paintings capture the iconic American tropes – the cars, the motels, the wide roads, yet the scenes do not feel idealised or bombastic. They are simply single moments captured in a (virtual) trip.
Emily Wright (AHKI) is a Melbourne based artist/illustrator who works primarily in graphite pencil, yet sometimes dabbles in paints and colour when the time is right. Emily’s pieces predominantly revolve around the natural world, and all of its living inhabitants; a direct reflection of Emily’s own love of nature and the outdoors.
Emily’s work is filled with fine detail and delicacy. Her pieces also often focus around the female form and the connection of femininity with the natural world. A successful exhibiting artist, Emily surrounds herself with other Melbourne based artists, musicians, and creatives to keep her inspired and constantly motivated.
Starting in Miami and travelling through the southern states of the US before ending in Palm Desert, California, Street View Road Trip explores a variety of American landscapes.
Using only Google Street View for reference, the paintings make use of the distorted perspective created by the revolving camera to create scenes that are both vivid and detailed yet eerily still. The streets are empty, a parked car sits outside a motel, a single car follows in the distance.
The paintings capture the iconic American tropes – the cars, the motels, the wide roads, yet the scenes do not feel idealised or bombastic. They are simply single moments captured in a (virtual) trip.
Emily Wright (AHKI) is a Melbourne based artist/illustrator who works primarily in graphite pencil, yet sometimes dabbles in paints and colour when the time is right. Emily’s pieces predominantly revolve around the natural world, and all of its living inhabitants; a direct reflection of Emily’s own love of nature and the outdoors.
Emily’s work is filled with fine detail and delicacy. Her pieces also often focus around the female form and the connection of femininity with the natural world. A successful exhibiting artist, Emily surrounds herself with other Melbourne based artists, musicians, and creatives to keep her inspired and constantly motivated.
Starting in Miami and travelling through the southern states of the US before ending in Palm Desert, California, Street View Road Trip explores a variety of American landscapes.
Using only Google Street View for reference, the paintings make use of the distorted perspective created by the revolving camera to create scenes that are both vivid and detailed yet eerily still. The streets are empty, a parked car sits outside a motel, a single car follows in the distance.
The paintings capture the iconic American tropes – the cars, the motels, the wide roads, yet the scenes do not feel idealised or bombastic. They are simply single moments captured in a (virtual) trip.
Starting in Miami and travelling through the southern states of the US before ending in Palm Desert, California, Street View Road Trip explores a variety of American landscapes.
Using only Google Street View for reference, the paintings make use of the distorted perspective created by the revolving camera to create scenes that are both vivid and detailed yet eerily still. The streets are empty, a parked car sits outside a motel, a single car follows in the distance.
The paintings capture the iconic American tropes – the cars, the motels, the wide roads, yet the scenes do not feel idealised or bombastic. They are simply single moments captured in a (virtual) trip.
