21st September 2015 Written by Leigh Lemay Arts

Refreshionism: Just What the Doc Ordered...

The first time I saw one of Doc Vegasartworks, Nothing Is Sacred To a Refreshionist (2015) (pictured below); it jumped out of the computer screen, punched me in the face and kicked me in the gut! As I picked my jaw up off the keyboard, I thought, Fuck. Yes. Finally!Some would argue not a very intelligent response, but intellectualism comes after emotion in my books. If an artwork smacks you in the face, its got to mean something. What made the discovery even more appealing, was the fact that the page members had erupted into a frenzy. There were as many shock-horror responses as there were appreciative and congratulatory ones. Actually, if I am to be honest, there were more people offended by the piece, than not. The demands to have it taken down came thick and fast, and that really excited me. Controversial art! What ensued was a debate on what constitutes art; to such an extent, that Docs artwork served as a catalyst for a breakaway group of artists to branch off and create their own Facebook page. I have to say, the artwork in that group, is far more interesting than the page that set the scene. Condolences to the naysayers, but in an endless sea of moored yachts and puppy paintings, youve got to love it. The truth is, I find a lot of art on social media prettyor polished, and although technically good in some cases, I rarely come across works that are thought provoking, risqué, brave or new. But in this instance, it was more than that. There is something honest in Docs imagery, intimate and maybe even poetic.

Nothing Is Sacred To a Refreshionist

Doc Vegas has been reviewed, mentioned or featured in several art publications, mostly in the days before the advent of the Internet. All of these publications featured articles on his upcycled, sculptural furniture known as Tribal Deluxe. These works were made in collaboration with another artist named Michael Murphy. Two of the Tribal Deluxepieces were purchased and are now in the private collection of the curator of modern art at the Queensland Art Gallery.

In the late 1970s, Doc began the process of taking something that is old or discarded (i.e. furniture and paintings) and turning it into something more beautiful. Better known as upcycling; it is about taking the has beenand creating what could be. Its about finding magic in the mundane and elevating it to the extraordinary;

I was doing this sort of work before it became a movement; before the word upcycling was invented. Around the late 70s and early 80s, I was recycling/upcycling things into art. It is I that claim it is now a new movement. I was one of the first, if not the first and am cutting edge in this style/movement [sic]. An example of cutting edge would be my current work.

Not averse to the constant improvement of his skills, Doc has completed a Tafe Certicate III in Art and Design (painting). He completed this course in a bid to learn composition and colour theory; knowledge that would enable him to create better sculptures and sculptured furniture.

It is also exciting to mention, that he has also been discussed (under his real name; Doug Elliott) in a magazine entitled; Australasian Fighting Arts (a martial arts magazine). He has trained and taught Karate and Aikido and in 1984, he was a finalist in the Kyokushin, Full Contact, Open World, Karate Tournament in Tokyo.He was also NSW full contact Karate champion 1983 to 1985.

An unenlightened observer will see a great dichotomy occurring in an aggressive form of thuggery (full contact Karate) and a gentle and delicate expression such as painting. From a more enlightened perspective there is no dichotomy; indeed there are many common factors worth discussing. Martial arts are a way to peace. Painting and Karate, Aikido and Jujitsu (all of which I have studied), although physical activities, are foremost activities of the mind. In martial arts there are common factors to other arts such as composition, rhythm, harmony and intent. Intent is probably the most powerful factor and the most mindful. Intent requires strong focus.

Ki is the Japanese word for universal energy, Ki can be best seen as intention in action. I was fortunate enough to have trained with certain Ki masters who taught me the art of extending Ki, or sending Ki beyond the body. We all do this albeit in an unintentional and unfocused way. Deliberately sending Ki is an incredibly powerful action of the mind. It is an action that leads to creation. The mind creates the physical. In its expanded form, Ki extension is the mindful act of creation.

Aha! A philosophical approach to creativity, and one of the subjects I love most! There is a wonderful artistic enterprise called, The SenseLab; which is a research laboratory for thought in motionand is something I came upon via my own research whilst at university.

Via an event-based practice, The SenseLab unites philosophy and art in a trans-disciplinary encounter that encourages the unleashing of new tendencies that may unfold.

They are interested in reorienting what they call the research-creation concept, away from the commonly assumed goal of cultural capital, and instead move towards the artistic thinking in the doing. For them, the research-creation concept is viewed as an internal connection rather than an external coupling, and is a mode of activity in its own right.

Art is the thinking in the doing just as philosophy is the doing in the thinking.- Brian Massumi

To elaborate on this topic, would be to go beyond the scope of this article; however, if you are interested, I absolutely recommend that you head on over to their website and take a look at what theyre up to. Suffice to say, Doc is not alone in recognising the importance of intent.

Intention. Lets think about that word for a minute. On the surface, it basically means having a plan. It could even be construed as a hope. Certainly Docs pieces embody an element of hope? Hope in the resurrection of what appears to be long gone; hope in the battle against excessive consumerism; hope in the celebration of the human form in all its guises. All positive. But the word intention can also be read as animus (the mind), and from there, it really isnt all that difficult to flip the coin over and rest on animosity. You see, it depends from where intention resides. I dont think anyone can deny, that there is something antagonistic in Docs works. From my perspective, it partly explains the frenzy I witnessed in the first place.

I became fully realised in moments of violence. As a nightclub bouncer I had more than a thousand fights; some with men that were monsters and some with groups of these monsters. I have never been badly hurt nor have I ever had an assault charge. However, as a result of a serious altercation, I ended up having to piss off out of Sydney and move to the tropics in 1989, to avoid being murdered.

The marriage. The Yin and the Yang. The negative and the positive that lives in us all. THIS is why the artwork of Doc Vegas stirs my senses and fans my flames.

Untitled 1

Indeed, when it comes to positivity, Docs career as an artist has gone from strength to strength. He began his creative career as a fitter and turner; who then became a sculptor and furniture maker; culminating in a decade-long art bender and now makes paintings.

From a platform of an old print, photo or painting; the finished artwork performs differently under different light conditions. In daylight and normal lighting, they are bright with a fashionable combination of fluorescent and metallic finishes. These and other elements; such as sparking glitter, sparkling jewel-like objects and interesting light-reflecting surfaces. These I use as a lure to draw the viewer into the picture plane and keep them there. To be entertained by the crazy contrast of a Victorian woman wearing nothing but tattooed lingerie and jewellery, or an antique family portrait which gets a funky hand-embellished treatment. Often the frame becomes part of the picture. With the lights off, they have glow in the dark elements such as primitive, tribal patterns, which present a totally different image. If you shine a light (such as a torch or car headlight) at them, there are elements made of modern light-reflective surfaces (as in safety wear and signage) which will light up like a bulb; presenting to the viewer a completely different picture again. It is a new dimension in the age-old artist exploration of light and shade. It is a new dimension because of modern materials, previously unavailable to artists.

This does not mean that Docs creations do not contain elements that adhere to tradition or respect good, solid foundations;

In my work I also use compositional guides, such as the rule of thirdsand the golden mean. The works need this element because some of them are so out there, they would visually sink.

These days, Doc Vegas paints more than he sculpts. Although he does, bust out occasionally and make a mad piece of furniture.

Untitled 3

What I really love about Docs work is the principles behind what he does and why he does it:

 

REFRESHIONIST MANIFEST0

I call artists to take hold of the old and make it new.

Take tired old second-hand art and do it a favour.

Refresh, Renew, Redirect, Re-mix, Recycle.

Take it to somewhere new and show it how to have fun.

Joy is the philosophy of now.

Refresh old art with your own talents to engage the viewer in a moment or two

of grins, smiles, giggles and laughs.

I call all artists to use and abuse old art and refresh it

with your version of modern fun.

Old Paintings, Prints, Photos, Architecture, Music, Dance and Fashion. Nothing

is sacred to a Refreshionist.

It is time to stick some fun up the arse of boring old art.

Welcome to the art movement of the 21st Century

DOC VEGAS July 26 2015

 

Given all of this; I dont necessarily claim this to be myart movement. I just claim to be one of the founding fathers and to be one of the artists leading the charge. I see in the pursuitof upcycling, many are doing their bit. As one of the founding artists, I may well be the first to claim this is a movement. At bestit is a movement. At worstit is a branch of second generation Pop Art.

Well, whatever it is Doc, it sure is refreshing, and I for one, cannot WAIT to see some more of your brilliance.

Untitled 4

Doc Vegas has just opened a Facebook page for his artwork. Head on over and check out his work. He has also recently entered his works into the Piece Gallery Art Prize in Melbourne, and we wish him all the best!

His artwork can also be found in Melbournes ArtBoy Gallery.

3rd June 2015 Written by Leigh Lemay Arts

Calling all SINners: Join the Global SIN, Art without Boundaries and POWer

Belaxis Buil is a Miami-based artist who studied at the New World School of the Arts (University of Florida). Graduating in 2006 with a double major in Dance and Sculpture and a minor in Art History, she graced the Dean’s List and has been a professional artist for nearly a decade. She is the founder of a recently formulated artist initiative entitled, SIN and has worked with organisations such as Global Partnership for the Prevention of Armed Conflict (GPPAC), North America, and Mexican enterprise, Servicios y Asesoria para la paz, (SERAPAZ; Services and Consulting for Peace).

 

Leigh: What inspired you to start up SIN?

Belaxis: I was interested in finding artists on a global scale that were producing work that was confrontational and controversial; that raised questions relating to social and political events. It was also a way for me to start motivating other artists who aren’t creating works of this nature, to become engaged in what is happening in the socio-political realm. I wanted to create a universal network of artists, predominantly on the Internet. SIN’s intention is to enter the virtual realm with a technological agenda, rippling into the far reaches of cyber space, then presenting the works to political organisations, infiltrating the creations with ideas similar to those of political discussion[sic]. The uniqueness here however, is that the created work would be conceptual, honing in on unbiased visual imagery. The stance would be unbiased because I would not want any party, entity or community to feel threatened, forced to become involved or blamed to [sic] a reoccurring concern, but more so see and feel the experience creating conflict. By engaging a person to become wrapped in situation, perspective and opinions shift and evolve.

 

Leigh: Why have you chosen the Internet as your major platform?

Belaxis: The Internet is global, it is visual, it’s easily accessible and it’s fast. We reside in a hyper-stimulated technological world and because of this, it is an effective approach to discourse relating to important social matters.

 

Leigh: Why is it important to have a collective like yours operating in the art world?

Belaxis:  I believe that SIN is an important addition to the art world because the focus point is a bit more extensive than just fine arts [sic] hanging on a wall or standing as a 3-dimensional piece in a home, collection or institute. It is work that addresses politics, religion and social issues per se, so it becomes an historical piece that changed history [sic]. Further, I want to create a bridge between the community and the powers that govern us, so that we can start presenting issues as imagery that are not based on just one voice. People have the tendency to drown out words when there is too much being spoken, but when they concentrate on images alone, they’re more likely to pay attention to what is being said.

 

Leigh: What was your most recent project?

Belaxis: My most recent project was being a part of a group exhibit called, Alternative Comtemporaneities: Temporary Autonomous Zones (TAZ) at the MOCANOMI (Museum of Contemporary Art North Miami). Curated by Richard Haden, approximately 50 artists from Miami were selected to show their work. TAZ “alludes to creating temporary spaces that elude formal structures of control…thus creating the foundation for authenticity and spontaneity”. It was a very radical exhibit that received a lot of attention because of MOCANOMI’s history of political upheaval in the last yearand a half or so. It was also an important exhibit because a lot of Miami artists have a supposed reputation for not being outspoken…but I don't think I have that reputation.

 

Leigh: What is your next project?

Belaxis: Let’s just say; Morocco, people and…

 

Leigh: What do you hope to achieve with SIN?

Belaxis: A project-based organisation who is eventually an important sector within the government structure. SIN would ultimately become an innovative diplomat, who would visit a conflict in order to do field study and analyse the situation via performance research and social art practices. Hopefully SIN would master the craft of conceptual dialogue to disengage tension.

 

Leigh: If you could say one thing to the governments of the Western World, what would it be?

Belaxis: If I could say anything to the government, I would not say anything at all. Everything has been said. I would just ask them to look and listen.

 

Having finished my degree in Fine Arts only six months ago; I still struggle with where in the art world my place should reside. Who am I as an artist? Am I a painter? Am I a photographer? Am I conceptual? Do I care about sales, or am I in it solely for expression itself? Do I create what the majority lean towards, or do I create whatever the hell I want to? Perhaps the biggest question of all for me, especially after contemplating my interview with Belaxis Buil, is, 'Do I have something to say?'

I can’t help but recall the moment at art school, when in front of the class, my professor urged another student not to be political in their work. It was an artwork about their native country and the associated atrocities being committed at the time. While it’s true that perhaps not all of us could relate on an experiential level, it was certainly obvious to all that the artist was passionate about their subject.

Aside from empathising with the general humiliation that can be felt when a teacher’s critique is not what you want to hear, I remember feeling torn between the impartiality expected from students of institutionalised art and the undeniable sense of being chastised and contained. If artists are not permitted to comment on the world around them, then who is? Could it not be construed as tragic, were our society to be stripped of deeply, political works like the famous painting, The Third of May 1808 by Francisco Goya, or William Blake’s poetic call to arms in, Jerusalem?

Subscribers to the Bellian philosophy of art may agree that, “To associate art with politics is always a mistake” and “to appreciate a work of art we need bring with us nothing from life…” but is this really possible? Are we not fundamentally made up of each experience from our birth to our death? Can we really remain impartial when we witness what we deem to be an injustice? Can we afford to be silenced?

“I don't think artists can avoid being political. Artists are the proverbial canaries in the coal mine. When we stop singing, it's a sure sign of repressive times ahead.”
—Theresa Bayer


Belaxis Buil can be contacted here.
Image: SIN & Belaxis Buil

13th March 2015 Written by Erin Cook Film & Photography

Anne Lynn Sawyer: Seeking Beauty in Nature (and Finding it)

If you’re reading this article right now, there’s a distinct possibility that you’ve got a few creative bones in that body of yours. You’ve made your way to the Warhol’s Children website and clicked on a link that looked a little bit arty. Perhaps you were looking for a bit of inspiration? Or maybe you’re suffering from creative block? Well, read on, dear reader, because Central Coast photographer Anne Lynn Sawyer might be able to help you out.

Anne’s photographs and illustrations are centered on the timeless concept of beauty in nature. Rather than torturing herself by looking inwards for inspiration, Anne prefers to look outwards. She looks outside of herself and outside of her windows in search of material to inspire her art. Nature is her vice and there’s a big wide world to keep her occupied.

Her work is created in the space where her two main interests, art and nature, collide. Anne’s creative practices are so intertwined into her life that she refers to her art as her, “beloved, if not demanding life companion,” before continuing, “we never get bored with each other.” I sat down with Anne to chat about her artworks and the inspiration behind them. It quickly became apparent that she’s just as in love with her ‘demanding life companion’ as she was when they first met…

Erin Cook: Have you always been passionate about creating art or is it something that has developed in recent years?

Anne Lynn Sawyer: The urge to express myself creatively has directed much of what I do for as long as I can remember. As a young child I would draw, colour in pictures, and make all manner of things from what I found around me. I feel truly blessed to have been provided with the sensitivity to see the world around me with creative eyes.

E: How do you view yourself? Are you a photographer, artist, illustrator or perhaps, all of the above?

A: I guess the closest answer to that would be, all of the above, as I draw on facets from a number of disciplines in my work. However, photography has provided me with a tool to amalgamate many of my interests and creative studies.

E: There is an overarching theme of nature throughout your work. Did this occur organically or was it a conscious decision?

A: My passionate love of nature has also formed an enduring part of who I am and has therefore fuelled and provided an infinite source of inspiration for my art creating. I view creative imagery as a powerful tool in the development of awareness for the beauty, diversity and gift of nature and the dire need for humanity’s respect through more sustainable practices.

E: Most of your photographs are instantly recognisable as your own. When creating new works, do you have a set process?

A: The development of a recognisable style for any artist is desirable and actively cultivated as a method to promote and identify your work as your own. However, having said that, I don't consciously follow a process, but merely answer what feels right when I am working. I guess to evaluate my process it would more closely constitute a constantly evolving series of experimentations rather than a ridged discipline. By working in this fashion, I remain fresh, engaged and am always learning throughout the development of new work.

E: How do you get the creative juices flowing when you're stuck in a rut?

A: I guess there are many ways I use to inspire myself to create...I like to go for a walk and just look about me, there is always something interesting out there in the big wide world.

The time of day you choose to photograph can open u a myriad of opportunities for capturing enhanced textural shots as the light is angled strongly in the early morning or as sunset approaches. I go looking for the shadows, which are cast by everything on bright sunny days. Shadows remove the confusing detail and reveal fascinating shapes, which have become altered, often eccentric versions of their creators.

I believe that all of us should view the work of artists and creatives as often as possible; their work is an endless source of inspiration...galleries, street art, craft markets, books, magazines, the internet.

Taking a class in a previously unexplored art form or craft is also a wonderful way of reawakening what lurks deep within the creative Aladdin’s cave that lies in all of us.

E. Do you have any advice for budding young photographers? 


A. Practice truly seeing...learn to look more closely and imagine the potential in everything around you...that which seems insignificant and ordinary may be reinvented by open eyes and an open mind.

Sometimes, the best way to get out of a creative rut is to find out what inspires other creative minds. Anne’s enthusiasm for her art shines through her words, especially when you add nature to the mix. If that doesn’t inspire you, I don’t know what will. Now stop procrastinating and hop to it!

Image: Anne Lynn Sawyer

12th March 2015 Written by Maureen Huang Arts

Two Worlds Collide with Stephanie Gray

When I stumbled upon a card of a hand-drawn bouquet of dried flowers, I became lost in the abundance of brown wilted leaves, inklings of red in roses with her heads faced down, and delicately drawn stems protruding in dozen different directions. As my eyes slid across the bottom of the page, there scrawled in black ink was the word GRAY. ‘Who is the one called Gray who created this card? I must find them!’

This was how I discovered Stephanie Gray.

Science and art: two worlds that seem to be on completely different ends of the spectrum. Stephanie Gray, the gal in between it all. With a science degree under her belt and a heck of a talent for watercolour and drawing, Stephanie is more than your cut-copy artist.

After having spent most of her childhood and adolescence in Bristol and the South of France, Stephanie sought a change of scenery. And a change of scenery she got. Now Stephanie is based in Sydney, and being thoroughly adjusted, Stephanie says her heart lies in Australia. “There is so much opportunity here and so much that I want to do! I love to be warm and love lengthy, light-filled days; these are the things I need to get my to-do list done.”

In order to pinpoint the catalyst of her creative career, we decided to take a trip down memory lane. Stephanie’s love for drawing and all things creative started from picture books. “I was a quiet child and I really enjoyed reading, especially books about little girls and gardens and fairies… I used to copy out the words and illustrations from these books and my mum would staple them together for me when I was finished. I suppose this is where it all began!”

As Stephanie’s passion for art continued to grow, she decided to develop her art alongside her science career. Having graduated with a Bachelor of Science at UNSW, it’s hard to believe choosing such a completely different pathway enabled her to enrich her love for all things creative. “I think that doing a very specific content heavy degree just highlighted the appeal of composing pictures and not words, so I think it has made it easier for me to find inspiration… it was lovely to have such separation between work time and playtime… After I graduated I was so excited to dedicate myself solely to art!”

And thus, her art label Erlenmeyer Art was born. Now you might be thinking, wait, her name is Stephanie Gray? Sounds nothing like Erlenmeyer. Well this is where Stephanie’s science background really shines through. When I asked her where her art moniker came from, she gave me a mini science lesson in return (or in short highlighted my total ignorance towards all things ‘science’). “Erlenmeyer is a reference to the German chemist Emil Erlenmeyer, who created a special flask and contributed significantly to the development of theories of molecular structure.”

But before the Erlenmeyer label represented her art, it was the title for her and her partner Byron’s jazz duet. “I had to take analytical chemistry for my degree and this is where I met my partner, Byron. He and I are both jazz musicians and when we found each other we formed the Erlenmeyer Duet, using the name because it sounds beautiful and elegant and that’s what we were trying to create with our music. Since then I’ve extended the name to represent my art because I am so attached to it and because I strive to achieve the same principals in my artwork as in our music.”

If there were one word to describe Stephanie’s work it would be ‘detail’. Precision is something that gives her work character. Along with detail, her subject matters can change from meticulously drawn dried flowers to a quirky pet name inspired walrus. From flowers to walruses, when trying to pin down her sources of inspiration, Stephanie showed me that inspiration can be found all around us. “Most of my pieces are created as gifts for friends and family… honouring their hobbies or favourite places. I also feel very inspired to do illustrations portraying the skills or beauty of people or things: wilted bouquets of flowers, a musician mid-performance, a little boy’s face after he’s dropped his ice-cream.”

Along with managing her etsy store, Stephanie’s also working on various other projects. “Currently I am working on a playing card deck that features illustrations of steam punk machinery. (kind of like the one featured in the picture at the top of this page) I find it so interesting to design playing cards because you have to identify competitive hierarchies within a theme and work out cohesive images for the back design and the jokers, as well as the typography work that is involved for lettering and numbering.” Together with this, Stephanie is also looking forward to putting on her first exhibition later on this year. Talk about being busy.

What attracted me the most towards Stephanie’s work was its personalised and homemade quality. Not only do you see this in her work, but also through the way she gets her art out to the public. Stephanie often runs a stall selling her originals, prints, gift cards and custom-illustrated playing cards at the North Sydney Markets on Miller Street, while also selling her stuff weekly at Paddington Markets. She often reminds people of her presence on her instagram posts, and encourages people who know of her art to come and say hello.

Interviewing Stephanie definitely felt like meeting and getting to know one of your closest friends for the first time: warm and cosy. This feeling reflects the way you feel when you stumble upon Stephanie’s work.

If you want to check out more of Stephanie’s stuff, you can find her on her website, etsy, facebook, instagram and through her little section at The Makery on Oxford Street, Darlinghurst.

Image: Stephanie Gray

19th November 2014 Written by Hannah Greethead Arts

Postcards with Kenny

Don’t worry; it’s not what you think. This isn’t a daytime travel show; it’s an interview with the delightful Kenny Pittock. A little while back I sent Kenny a postcard, then he sent one back, then I sent another one... you get the gist.

We've already introduced Kenny here but in case you missed it, he's a Melbourne-based, multi-disciplinary artist. Kenny's practice includes drawing and sculpture which he uses to initiate a fun and clever commentary on Australian culture. Check out what he had to say about his work and other things.

Hannah

intro card

 

Kenny

postcard interview 1

Note (last line): Melbourne writers festival in 2 weeks. Is that worth mentioning?

 

Hannah

postcard interview 2

 

Kenny

postcard interview 3

 

Hannah

postcard interview 4

 

Kenny

postcard interview 5

postcard interview 6

 

Hannah

postcard interview 7

 

Kenny

postcard interview 9

 

Hannah

postcard interview 8

 

Kenny

postcard interview 11

Note (final line): Who knows. Ciao, Kenny

 

Hannah

postcard interview 10

Note: (final line): I didn't know that before.

Title image: Kenny Pittock

4th November 2014 Written by Hannah Greethead Trending Fun

Lost For Words?

Sometimes, you just don’t know what to say. It’s very inconvenient when it happens. You get all tongue-tied; you start looking around wildly for something you can use to distract people from your inability to put together a coherent and relevant sentence. It's awful. But luckily, there's a solution. The Instant Art Critique Generator gives you all you need to go from blabbering fool to charismatic dreamboat.

While its help might be limited to the white lined walls of the art gallery, it is a little glimmer of hope for those of us who regularly find themselves just a little bit verbally challenged.

27th October 2014 Written by Erin Cook Arts

Words From the Wise: Pablo Picasso

Picasso saw the world differently from you and I. In fact, he saw the world in many different ways… all at the same time. Cubism – otherwise known as Picasso’s love child – was born from the idea that different perspectives could sit alongside each other on a single artwork. His unconventional, geometric works were meant to challenge the mind, challenge your vision and create different ways of ‘seeing’.

Picasso was (and still is) a superstar of the art world. Rather than letting his art do all the talking, Picasso used his celebrity status to dish out a few words of wisdom.

Read on to discover a few of Picasso’s best quotes:

  • “I paint objects as I think them, not as I see them.”

  • “Art is a lie that makes us realise the truth.”

  • “An idea is a point of departure and no more. As soon as you elaborate it, it
    becomes transformed by thought.”

  • “Bad artists copy. Good artists steal.”

  • “All children are artists. The problem is how to remain an artist once he grows up.”

  • “Art is not the application of a canon of beauty but what the instinct and the brain can conceive beyond any canon. When we love a woman we don't start measuring her limbs.”

  • “Everything is a miracle. It is a miracle that one does not dissolve in one's bath like a lump of sugar.”

  • “He can who thinks he can, and he can't who thinks he can't. This is an inexorable, indisputable law.”

  • “I don't believe in accidents. There are only encounters in history. There are no accidents.”

  • “Colors, like features, follow the changes of the emotions.”

  • “Art washes away from the soul the dust of everyday life.”

  • “Art is the elimination of the unnecessary.”

When it comes down to it, Picasso encouraged his contemporaries to break from the status quo and following their basic instincts. He was a free spirit who produced a body of work that continues to inspire artists today. That Picasso fellow must have been on to something!

Image: Claude Truong-Ngoc / Wikimedia Commons - cc-by-sa-3.0

19th October 2014 Written by Hannah Greethead Arts

Meet Kenny Pittock

Kenny Pittock is a mixed media artist from Melbourne. That is probably the most boring introductory sentence that I have ever written about a person. I’m sorry. There is however, truth to that initial sentence. Kenny is an artist and he is from Melbourne….. But this really isn’t getting anywhere is it?

Here are some pictures instead.

IMG 8202

This is a picture of a drawing of a picture next to the picture that the drawing is of.

 

Kenny Pittock Drawn on train. Only Illegal. 2012. jpg

This is a drawing, of a guy, I think it’s called ‘Guy wearing a t-shirt that says “It’s only illegal if you get caught!’ getting fined for not having a concession card.’

 

hi dogs

This is a sculpture called ‘If hotdogs could talk I think we all know what they’d say’

 

tinder surprise. Kenny Pittock. 2014 IMG 9755

This is another sculpture called ‘Tinder Surprise’. (Haha)

 

Kenny’s work, aside from being cheeky and incredibly funny also cleverly plays around with contemporary Australian culture. making art objects out of those of the everyday… It’s Pop, but with more soul. Kenny takes corporate product and makes it feel human.

So, this is Kenny, you can see more of his work here.

You should also stay tuned for an excellent interview with Kenny. Really, it’s going to be something special.

Images courtesy of Kenny Pittock

22nd September 2014 Written by Jasmine S. Arts

Paintings That Make You Question Everything

If you hate politics, the 1%, and humanity in general, then listen up because Pawel Kuczynski has thought-provoking paintings that will make you hate them even more! 

Born in 1976 in Szczecin, Poland, this cartoonist graduated from the Fine Arts Academy in Poznan with a specialisation in graphics. But since 2004, he has focused more on satirical illustrations. He has been awarded with more than 100 prizes and distinctions. 

His works speak for itself, but usually touches upon social, political and economic issues plaguing the world today like extravagance of first-world citizens juxtaposed against the third-world people. 

5th September 2014 Written by Ophelia Overton Arts

Finding Mr Lister

I  saw some paint-splattered shoes weave in and out of skateboards and spray cans as they paced along an oriental rug. I knocked tentatively on a half-raised garaged door in Bondi not quite knowing what was on the other side. A voice called out—“Yes, come in.” I crawled under and saw a long profile of a man that had to be him. 

Turning around with spacey eyes, he extended a friendly hand and said “Hi, I’m Anthony.” I had found him…the one and only Anthony Lister. 

I wondered how long I would have before he’d grow restless and move on, but he assured me, “No, of course not, I’m here.” And we settled in. 

“So who is Anthony Lister?”

“Anthony Lister is kind of like a busy brained nobody. He kind of prefers to be sitting in a back alley by himself, or with bums if they’re not talking shit, than in any sort of club drinking any sort of fancy whatevers… usually.”

You probably know him better as the artist that’s been bridging the divide between low brow and fine art though. Or maybe you’ve seen him on the list of the top 50 most collectible Australian artists? Or maybe you know him as the 2nd best muralist of 2013 world wide? 

“I have a problem with the word artist though so let’s just say painter or freedom fighter.”

Fighting for what exactly? 

“The freedom of visual speech.” 

In a world where we don’t want to read but see messages, he is preaching the answer to the 21st century. It’s all the same to him though because “Pictures are just shapes that haven’t become letters yet and letters are just shapes that haven’t become pictures yet.”

His pictures are often praised in the tight-knit circles of curators and friends, but he doesn’t see them as anything of the sort. 

“I would never be as bold as to assume I’m original. I don’t want anything to do with being unoriginal…but I don’t know…it’s a tricky one. [We live in a] reincarnation society where originality is just going to be a product of how recent a reincarnation of someone else’s creativity was conceived.”

His work is a reincarnation of all the rules fine art has to offer juxtaposed against all the affordances of a fuck you kind of graffiti. 

He is an immaculate mediation of contradictions. He is Gen X’s perfect love child-parented by the will to set the world on fire and the optimism to recreate it again from the ashes.

“I’d rather just pretend to break shit but really be making shit.”

The world wasn’t made for guys like Anthony Lister, so he made his own out of paint after he carved himself out of a two-week Datura trip. 

“I remember sitting there thinking, ‘Who am I and what do I do and how am I gonna live life?’ And I looked at my drawings that I had on the wall I thought, ‘I do art, oh of course I do.’ And I pretty much put together who I was gonna be and from that point on that’s who I've been. At 17 I was living the dream.”

And from that point on, he entered into the world of ‘formal thugness.’

We continued to talk on that balcony for a long while when he said, “Hey I want to show you something.”

He opened his lap top and began flipping through files. He opened video after video after video, offering a few fragmented words on each before another idea would strike and another window would open. Not bothering to close any of them, they played simultaneously—everything from edits of interviews to songs with Charles Manson to accidentally spray painting brides. I could only assume that this cacophony of chaos was analogous to the inside of his head. 

He shifted restlessly in his seat—it was happening. He shot up. His eyes darted frantically around the room as he collected things in a bright pink pouch. “I uh…I have to paint. Do you want to come?” and we headed back down to the garage.

As he prepared to take that frenzied energy to canvas, he gave me a history lesson in fine art interspersed with G-Unit lyrics. 

He continued with this as he arranged his desk, unearthing something glossy from the grunge.

“Have you seen this? Yeah I did they did this story on me last month.”

He threw over this month’s ‘Fashion Meets Art’ edition of Vogue (laughs). 

And then he began. Inspiration had seized him and he was forced to ‘surrender to the adventure painting gods’ as manic waves washed over him and spilled out onto the canvas. He tackled three at once, sprinting between them as the ideas flooded in.

Then, after some time, the feverish spell broke—he was finished and something occurred that even he could not fully comprehend. 

“I can’t know everything about how or why I do what I do.”

And that was it, he slipped back into the human realm.

“You want to head down for a swim?” 

So he rolled a spliff, skipped across the road and dove into the ocean. 

When he emerged, we sat there on the sand looking over at the end of the beach where the waves kissed his imposing Bondi mural.  

“I almost feel like I would like to leave this game and then just take on one of my other dialects and just let all the thinking go on. This whole thing has cost me everything. My freedom, my time, my health…all sorts of things.”

In the end, it’s all worth it he conceded. His only regret? “I would have done more things that people said I shouldn’t.”

He’s been able to play it risky enough though by not fixating on “success” as the end game. 

“Who needs to win? I’ll lose just so everyone gets over it and we move forward. It’s about the party afterwards.” 

Ironic coming from a man that played the game better than any of us and won—and god damn did he win big.   

You can get more of him here.  

5th September 2014 Written by Erin Cook Arts

Ice Cream For The Eyes, Not The Taste Buds

I scream, you scream, we all scream for (ceramic) ice cream.

Ceramic artist Anna Barlow has always been fascinated by the way we eat food and the rituals that surround sweets and celebration. In fact, she was so fascinated that she spent eight years researching and creating a series of ice cream sculptures. Her artworks are realistic enough to make audiences do a double take. There’s triple cones, wafers, cherries, chocolate chips and many, many types of topping. This is the stuff that childhood dreams are made of.

Barlow’s sculptures capture ice cream during the glorious transition from frozen to melted. “I love the idea that ice-cream only lasts for a few seconds but once it’s fired, ceramic is permanent unless you break it,” she said. She focused her project on ice cream due to its momentary, yet unforgettable qualities that can evoke memories and prompt indulgent fantasies.

It wasn’t an easy process from start to finish. Some of the pieces in the series took Barlow no less than four attempts to master. She grew accustomed to watching her work crumble before she finally perfected the process. “It took about eight years of research to come up with the right techniques and colours,” she said. “I use a scoop for the earthenware clay, as you would with real ice cream, then the ‘cream’ is piped on and the hand-modelled extras are added.”

Not everyone is a fan of Barlow’s creations. Her works were recently criticised for being obscene, gluttonous and grotesque. However, she’s not fazed by these harsh words and thinks that it comes down to the viewer’s personal relationship with food. “I find it fascinating how some people dislike my sculptures, usually because they don’t prize food in their own lives,” she said. "Children in particular tend to understand it more, which makes sense.”

While Barlow’s ice creams may not be as tasty as the real deal, they sure have given me some inspiration for my next sundae.

Image

29th July 2014 Written by Aimee Tracton Arts

Tall Tales of Depravity: The Art of Andy Kehoe, Iguana Boy

When pirates attacked his sea merchant father’s boat, three-year-old Andy Kehoe was tossed overboard. The cargo ship carrying pickles, kittens and everyone Kehoe knew fell tragically to the bottom of the sea. Saved by a favourably flowing current, the toddler was washed ashore on the island of Galapagos where he was raised by iguanas who taught him much of what he knows. This is just the beginning of painter Andy Kehoe’s life.

The child-iguana adapted to his environment and even learnt to hold his breath for 15 minutes to reach the most delicious algae on the seafloor. Then things went pear shaped and Kehoe somehow found himself living in a Romanian forest subsisting on a diet of goat and children’s blood. His assimilation back into polite society thereafter was a lengthy and painstaking process.

 

Kehoe’s tumultuous history of environmental conflict and adjustment can be observed in his paintings. There’s a sense of tranquillity when character and nature are in balance. When this happens, flowers fall from branches to hug the antlers of a horned beast. 

Other times, character and environment are not yet adjusted. In this case, the head of a giant burnt-tree-haired creature rises from a glowing orange forest. The result is a little foreboding and very mysterious. 

In terms of technique, once Kehoe began using his hands for drawing pictures instead of choking children, he found power in the spatial relationship between subject and surrounding. He works with depth and layering, painting backgrounds in their entirety even though he’ll end up painting over much of it later. Working with multiple layers of resin pushes the spatial relationship until the characters are actually residing within their worlds.

For Kehoe, the vengeful families of eaten children are now a continent away and his adopted lizard parents but a fading memory — though his work is prone to implanting false memories of nights spent deep in the forest, drinking a full-bodied wine from an animal skull goblet with a strange beast. 

The portal to Kehoe’s world is here

29th July 2014 Written by Otto Reitano Arts

Painting the Crisis: Art by Molly Crabapple

A somewhat puzzling aspect of humanity is our inability to care about things that don’t pose any direct threat to us, or those around us.

Suppose you receive an email asking you to donate money to starving children in Africa — chances are you’ll either ignore it or perhaps you’ll feed it to your ever-so-hungry junk mail folder. If, however, the starving children are lying outside your doorstep and you’re forced to step over them on your way to work each day, perhaps then you’ll consider donating a little money to the cause. 

Artist and journalist Molly Crabapple is a little different to the rest of us. She’s not only one of the few artists to depict the torturous environment of Guantanamo Bay, but has also dedicated a great deal of her professional career to raising awareness about important issues such as the Occupy Wall Street movement and the economic crisis in Greece. Most recently, however, she decided to sketch portraits of some of the victims of the crisis in Syria.

The above picture is a portrait of Fatima Meghlaj, age 2. She was killed in Syria on Sept 16, 2012. By simply putting a face to some of the victims, Crabapple humanises the devastation. When the war isn’t going on in our city, let alone our country, it’s quite easy to forget how difficult it must be living in a war-torn country.

Whilst Crabapple’s primary means of expression is through visual art, she has also written for The New York Times, Der Spiegel, The Guardian, and various other left-wing publications. Molly Crabapple is not only an exemplar human, but also an excellent example of the possibility of political commentary through creative expression. 

24th July 2014 Written by Worthwhile Jones Arts

Looking Into The Abyss

Anyone who has made the pilgrimage to our Nations Capital could be forgiven for thinking that it is neither deserving of the title or the effort and, as a former resident of almost a decade, I say fair enough. Canberra is in many ways a lacklustre and buttoned down city. It’s like your annoying younger cousin who talks too loud but hasn’t really done anything, or that uncle you have that the whole family secretly thinks could be gay because he’s just “so clean”.

Canberra, as a city, is renowned for its galleries and museums (of which there are relatively few), Questacon, parliament house, public servants (pubes for short & of which there are many) and roundabouts (again, many). As an ex-local though I often feel compelled to defend “The Can” from such shallow summation. Not only did I spend my formative years there, pissing my dignity and pay up the wall, smoking weed in peoples loungerooms and eating pills, but I did it with some interesting, nihilistic creatives to a soundtrack of good bands and a montage of both “fine” and “street” art that was both rich and always changing.

PRE

In my last 2 years in Canberra, street art took off in a massive way. In a matter of months the city went from being home to a few hard working taggers and uni student paste ups to being a literal gallery of art work on almost every block. At the forefront of this explosion was the artist known as Abyss .607.

1

The first thing people noticed was the eyes. Suddenly they were on rooftops, bus stops, street signs and shop fronts. One black, occult looking eye, daubed like a symbol of pagan worship on surfaces from the Northside to the South. Whoever this guy was he was literally everywhere. Sometimes you’d see the trail he’d left on a mission across town, black eyes and tags like a trail of breadcrumbs. A week later it was criss-crossed by seven more. Abyss was Canberra’s underground equivalent of Batman and we all slept soundly knowing that he was out there, night after night, and that he had a plan.

When the paste-ups and murals started appearing, Abyss really hit his stride, and any doubt about his artistic talents or plans were laid firmly to rest. Giant otherworldly creatures made up of geometric patterns, brightly coloured and immaculately detailed, began appearing in some of the most open and brazen places holding torches or balls of light. He called them Seers.

2

They were the watchers in the darkness, from alley walls, supermarket carparks and bus interchanges. Figures of mythology and power who still seem somehow benevolent.  Wise and frightening guardians of our society a bold statement of our need for such figures made in public almost daily by an artist on a rampage.

3

4

For a squizz at a massive back catalogue of Abyss.607’s work and the crazy things he’s up to now, check out his Facebook.

All images taken from the above facebook profile. All photo’s and artwork by Abyss.607

Article originally appears on our partner site, The Dangerlands.

10th July 2014 Written by Bushra Khalid Arts

'Remember That Time Your Balls Touched Your Shoes?' Art by Nicasio Fernandez

Fernandez began his love for art at a young age, as soon as his brain could function. He describes his thought provoking work as “wonky genderful” characters that clash child like manners with aspects of adulthood. It allows topics such as sex, money and politics to be seen in a new light. 

There is a strong nostalgic undertone to his artwork seen through the whimsical and brash “wonky” cartoon characters. Through these themes, Fernandez urges the viewer to engage with the artwork with their own personal thoughts and memories. He uses different mediums for his sculptures and canvases, such as cat hair, rhinestones and glitter (although using cat hair may not have been his objective – it gets everywhere). His artistic process is a mix of chance and tapping into memories to create a beautiful trajectory of nostalgia that the viewer can absorb into their subconscious and perhaps reclaim as a lost memory of their own.

You can see more of his work here.

26th June 2014 Written by Erin Cook Arts

Art Can Make You Happy

When it comes to art, some people have a harder time embracing it than others. While it’s easy to appreciate an artwork that requires great technical skill, abstract pieces can leaves audiences in a state of confusion. Let’s face it, Barnett Newman’s Cathedra, with its expanses of blue and two slim white lines, isn’t the easiest painting to decipher. Maybe it’s time we all stopped overanalysing art and learn to just go with the flow. According to a new study, appreciating art could be good for the soul. 

The guys at Toronto University reckon that the human brain is hard-wired to love art. They found that paintings activated the areas of the brain that are responsible for vision, pleasure, memory, recognition and emotions. As our brain processes an artwork and searches for meaning, it activates a biological process that benefits our mental health. This means that each and every person could benefit from reveling in the artistic delights of the visual arts.

The findings were based on 15 studies, conducted in seven different countries, between 2004 and 2012. Volunteers were asked to view an assortment of paintings as an MRI scanner monitored their brain activity. Two-thirds of the time, they were asked to make aesthetic judgments, while in the other third, they were allowed to sit back and relax. The results showed that viewing artworks triggered high-order mental processing and experienced or anticipated pleasure. 

So looking at art makes you happier and smarter? Got it. 

Photo of Newman’s Cathedra sourced here

20th June 2014 Written by Erin Cook Arts

Marina Abramović on the Subject of Nothingness

In the 21st century, it’s hard to know exactly what art is. What’s even harder, is trying to figure out exactly what art isn’t

Marina Abramović creates art by either partaking in dangerous stunts or doing sweet nothing. She is a performance artist who has taken dangerous drugs, had a loaded gun pointed at her head, stripped bare and deprived herself of oxygen; all in the name of art. Her last performance, The Artist is Present, saw Abramović sit motionless, six days a week, seven hours a day as she stared into the soul of the person sitting opposite her. This year, she’s back with 512 Hours, a durational performance piece that will take place at London’s Serpentine Gallery between 11 June and 25 August. 

Abramović is obsessed with the concept of ‘nothingness’. With the exception of lockers, the Serpentine Gallery will be stripped bare to emphasise the importance of nothing. Her body will be the main source of entertainment throughout the 512 hour performance. There is no script or guide in place, leaving Abramović to do as much or as little as she pleases. The performance is about focusing on the present. “When I remove everything, what is left? The present is left, and in the present a lot of things can happen. It will be different every day. There is a great expression, ‘In the river you can never wash your hands in the same water’, and that's exactly what's going to happen.”

Abramović has taken steps to ensure the full attention of her audience. On arrival, viewers will have to check their possessions at the door, severing all ties with the outside world and leaving them with nothing but the clothes on their back. Abramović wants, “people to come to me open and vulnerable. When they come to the gallery they have to leave their watches, their computers, their Blackberrys, iPads, iPhones, because we are so incredibly used to technology and I wanted to remove that.” Forcing audience members to quit technology cold-turkey will test their concentration span and self-control as social media withdrawals set in. 

The pared-down nature of 512 hours is to explore the relationship between ‘nothingness’ and art. In a TV interview way back in 1989, Abramović was asked what art would look like in the 21st century. At the time, she thought that art would use direct energy rather than objects. Here we are, 25 years later and Abramović is trying to reconstruct her ambitious predictions. 

Abramović is proof that in art, you can push the limits by doing absolutely nothing at all. If only that theory translated into other aspects of life… 

Photo sourced here

4th June 2014 Written by Yael Brender Arts

Ariel, Cruella, Pocahontas & Elsa Are All Men Now

Rule 63 of Cosplay – Crossplay – seems to be all the rage at the moment. Gender-bending artist Sakimi Chan has reimagined classic cartoon characters in their opposite gender in these beautiful new artworks. What’s special about Chan is that it’s rare to see genderswap art that is both faithful to the character and totally inventive. Also – these guys are pretty hot.

Chan has more titillating and genderbending art than you can handle on his portfolio.

4th June 2014 Written by Bushra Khalid Arts

Show Me Your Bones...Or Your Insides: Sculptures By Yoshitoshi Kanemaki

Japanese sculptor Yoshitoshi Kanemaki chisels these intricate and haunting life-sized sculptures out of camphor wood. In these figurative sculptures, Kanemaki beautifully involves two or more characters that merge into a single harmonious form, perhaps representing a commentary on mortality or the multiple personalities and perspectives the human form can take. 

Fighting an uphill battle against stubborn grain, working in wood allows Kanemaki to etch out the human form in all its perfect imperfections. The patterns of the grain and rough contours can still be seen beneath the paint in his surreal signature carvings. If you want a free online acid trip, check out his mind-blowing sculptures here

28th April 2014 Written by Jasmine S. Arts

Giving Birth To Art, Literally

The vagina can be used for many things. Sex, childbirth, and releasing paint-filled eggs to create an artwork—wait what?

Milo Moiré is a Swiss performance artist, painter, and psychologist based in Germany. Most of her art has included her naked self, and her most recent and public performance took place in this year’s Art Cologne fair. Yes, she was also naked there too. She performed an outdoor piece entitled ‘PlopEgg’, where she squeezed paint-filled eggs out of her vagina onto a blank canvas below to symbolise a woman’s creative power of femininity and fertility. 

Her first performance art piece, The Script System, was performed in 2013. She carried out her daily morning routine of waiting for the train and walking to work, all stark naked. This was met with controversy regarding the application of the female body in art. 

She realises that not many people understand or appreciate her art, but she believes in her own work nonetheless. Many critics, however, believe that her performances are absurd and gratuitous. 

See more of Moiré’s work here; warning, it’s pretty NSFW. 

 

21st April 2014 Written by Yael Brender Arts

Art That’s A Treat For The Eyes AND The Tastebuds

Pizza is like sex—even when it’s bad it’s still good—but Wilhelm Rodriguez can do more with pizza than even the most talented Crust employee. His insane pizza portraits are made of nothing but dough, pizza sauce and cheese. The only problem is that you don’t want to eat them because they look so awesome. 

Also, he’s on the U.S. Pizza Team? Did you know that the U.S. had a pizza team? Rodriguez hails from Cabo Rojo in Puerto Rico, working at Papa’s Pizza by day and creating freaky edible portraits by night.

 

16th April 2014 Written by Rebecca Lay The Arthouse

'Art Gets Me High' With Lewie JPD

Amidst the busy office chatter, the sporadic grinding of coffee beans and the whirring traffic from the street I had a tête-à-tête (is that a douchey thing to say? Yeah? OK.) with the insightful Bondi visual artist Lewie JPD. 

11th April 2014 Written by Otto Reitano Arts

The Cartoon Utopia of Ron Regé Jr.

Ron Regé Jr. is a psychedelic cartoonist and alt-comic creator. Many of his arguably esoteric works refer to ancient forms of knowledge, such as alchemy and hermeticism. Drawing from these philosophies of mythology, religion, and spirituality, he creates artworks of incredible meaning and visual detail.

Regé’s most recent work, “A Cartoon Utopia”, doesn’t follow the same structure as other cartoons might. A lot of comic artists tend to put a great deal of focus on aspects like character development and story progression. In Regé’s cartoons, however, the focus is on the message. His publisher, Fantagraphics, has even gone as far as to dub his work a “part social manifesto”

Unlike books, essays, and many other forms of art, comics have the ability to convey extremely dense information in just a few words. Unwieldy concepts such as dualism and the nature of matter are boiled down to their core ideas.

There’s no one, central theme behind his work, but a lot of his ideas point towards positive thinking. In a recent appearance on the Duncan Trussell Family Hour Podcast, Regé revealed that despite being an advocate of positive thinking, he would not consider himself an optimist.  He believes that whilst everyone must face adversity at some points in life, it is possible to appreciate the beauty of all experiences, regardless of their nature. A break-up may seem like a horrible experience at the time, but once we learn to see everything as it is, only then can we fully appreciate the character-strengthening, positive aspects of something so surely unfavourable.

If you feel like diving further into the mystical and psychedelic realm of Ron Regé Jr.’s Cartoon Utopia, check out his website.

26th March 2014 Written by Bushra Khalid Arts

Make Art by Getting High

Fernando de la Rocque, a Brazlilian artist, has found a new way to create dope stencil art — by smoking pot. He (probably) doesn’t smoke a fat joint before getting to work, but he actually utilises the smoke itself to create ashy shades and smouldering pieces of art. To make one print, he blows several puffs of marijuana smoke onto a stencil overlaying a crisp white canvas. The image slowly begins to surface after a week (and about five joints). 

Rocque has never been one to shy away from controversy in his artwork.The aptly titled “Blow Job” series of pot-infused art has attracted plenty of attention thanks to his bizarre technique. Fernando de la Rocque, obviously being in favour of legalising marijuana, has stated that more important than smoking is the freedom to think about it and make art with it. The next time you think about smoking a joint, make art instead.

You can wrap your heads around his dank stencil work here

13th March 2014 Written by Adam Disney Arts

Noirlac - Video Game Art and The Nostalgia Of Pixels

Here’s an odd one. For those with a yen for the primitive, presented here for your consideration is the combined output of the mysterious ‘Noirlac’, an anonymous creator of repurposed digital art. Sourced from a wide variety of ancient – often obscure –  videogames, Noirlac’s art essentially consists of a vast array of still images depicting a host of alternately strange and mundane landscapes, and some truly bizarre gifs. The results are eerie, comic, and most of all, beautiful. Not only do they induce a heady nostalgia for the digital days of yore, but they serve as a reminder of the skewed beauty of limited pixels, and the impressive artistry of the oft-forgotten pioneers of video game design. The lush hyper-real colours and infinite horizons, stripped of their power-ups and avatars, further go to underline the subliminal effect good art design has in all media.

tumblr n1e2duM7541qbzzgco1 500

This collection is not without controversy, however. While it is true that Noirlac never claims ownership of the images presented, or indeed makes any real statement of substance, the fact that the images are made available for sale in the form of t-shirts and prints raises some thorny questions regarding attribution and copyright. While remaining anonymous means whoever maintains the site doesn’t personally receive any undue kudos, the fact remains that they profit financially from the sale of other people’s work, and are failing to attribute the original source in the process. Indeed this lack of sourcing has led some other high-minded individual to set up a tumblr devoted entirely to correctly identifying the old video games from which Noirlac’s images derive. Controversy aside, there’s no denying that the images themselves are a strange delight of the kind that only the internet can serve up.

tumblr n0xvuiGj5b1qbzzgco1 500

tumblr n1awbhzQYf1qbzzgco1 500

tumblr n1cwz0N8hF1qbzzgco1 500

tumblr n19mzuMsQx1qbzzgco1 500

tumblr n19o9zb7XP1qbzzgco2 r2 500

 tumblr n27zc05ZmO1qbzzgco1 500

tumblr n1miqqBn1C1qbzzgco1 500

tumblr n1yjk75VkB1qbzzgco1 500

tumblr n1zekhb6ow1qbzzgco1 500

tumblr n27r77JeUA1qbzzgco1 500

More Noirlac.

Google+