Laura Rokas is a Quebec-born artist living and working in San Francisco, CA. She works with paint, ceramics, and embroidery, playing with the dimensionality of her subjects. You can find more of her work here.
*All images from laurarokas.com
Brooke DiDonato is a photographer based in New York City.
Her work seeks to illustrate the narratives of the psyche by pairing common human experiences with uncanny visual elements. She is influenced by the subconscious and its correlation to emotions and perceptions.
Born and raised in Ohio, Brooke received her BA in photojournalism from Kent State University in 2012.
To see more of her work, click here.
“Fence, Amargosa Desert” is a wind-activated sound installation made from 200 glass bottles found in Rhyolite, Nevada. The clear and green bottles, known to have been left there by gold miners, are hung on an old wire fence to catch the wind. The fence was created by Chris Kallmyer in summer 2010 and recorded by Chris and Andrew McIntosh on May 24, 2013.
Music by Julia Holter and Lucky Dragons was written and recorded in response to “Fence, Amargosa Desert.” The recordings are accompanied by an insert (LP) or pdf (digital) of photos and interviews from the artists about their creative process and their relationship to the desert regions surrounding Los Angeles.
“Rebecca Louise Law is an Installation Artist based in East London, specialising in artworks made with natural materials, namely flora. The physicality and sensuality of her site specific work plays with the relationship between man and nature. Law is passionate about natural change and preservation, allowing her work to evolve as nature takes its course and offering an alternative concept of beauty.”
Check out Law’s stunning show “The Beauty of Decay” at Chandran Gallery in SF before it closes on August 4th!
“A hanging installation and a series of editions created in collaboration with UK Photographer Rachel Warne will be exhibited as part of Law’s first US gallery exhibition.”
To see more of her work, click here
*images and quoted text from artist’s website
Studio E.O is a multidisciplinary design practice. It was founded by designer Erik Olovsson and is located in Stockholm. You can see more of their projects here.
Osma Harvilahti is a Finnish photographer living and working in Paris, France. You can see more of his work here.
*All images from the artist’s website
Sannah Kvist is a freelance photographer and train driver. She is based in Sweden. To see more work, click here.
Adam Frezza & Terri Chiao are an American artist duo whose work explores play and craft across a range of media, including painted sculpture, installation, collage and photography. Also known as CHIAOZZA (pronounced like “wowza” or “yowza”), Adam and Terri have exhibited their collaborative work in solo exhibitions in New York and Philadelphia, in numerous group shows around the US, and in a variety of art and design venues internationally. The studio was founded in 2011 and is based in New York City.
Featured above is their Impossible Staircase, wooden sculptures, a Puzzle Painting, a Ceramic Puzzle, Paper Plants, Lump Nubbins sculptures (transformed recycled paper pulp), and Desert Plants. The duo’s “collaboration games,” the ceramic puzzles and Virka series, are especially interesting to me. I love the experiment of two collaborators using the same exact materials and inspiration and then, with the same goal in mind, creating something distinctly different yet complimentary.
To see more of their work, click here
*images + initial text from artists’ website
Kelley O’Leary uses mapping in her collage and photography based practice, reconciling personal geography with the clinical vocabulary of Google Street View and other forms of big data.
MH: How do you compile your image for collages? Are they sourced from your own photography or do you gather them?
KO: I source my images from newspapers, my own photographs and Google Street View. I rely on newspapers and my own photographs for architectural interiors, and Street View for the exteriors. Recently I have been gathering more imagery from Street View by dropping into a place and taking screenshots. This method is particularly interesting to me because I have many questions about data collection, privacy and surveillance that I intend to address with my work.
MH: Can you speak to your architectural references? There’s both a neutral palette and a sort of 60-80s architectural style that come through.
KO: I am inspired by the pastel palette of the Sunset neighborhood in San Francisco where I live, and where I collect most of my imagery. The architectural style is representative of the homes and buildings of the San Francisco streets I walk. Most of the houses in the Sunset were built rapidly in the mid-1900s in reaction to the baby boom. I am struck by the washed out colors and blue shadows of the houses that seem to fade into the dunes they were built upon.
MH: Have you worked with other sets or architectural/geographical vocabulary? What was that experience like?
KO: I began working with this vocabulary when my family sold the house in Massachusetts where I grew up, while I was going to college in California. I made quilts from memory that mapped out my old neighborhood, and the interior of my old home. I am drawn to the way memories move through space and the distortion of reality that is created in recollection.
MH: What’s your relationship to San Francisco? The super-compressed space of your images really evokes the density of the city.
KO: I moved here four years ago and despite my deep love for this city, I am overwhelmed by it. I am most comfortable in a place where I can see the horizon. Horizons are lost in the density of the city and at times it feels confined and congested. At the same time, I am inspired by the energy of the city and the ideas and people it brings together. We are experiencing a time when the city cannot adequately accommodate the rising demand for housing. I hope to capture the feeling of not-enough-space.
MH: What is your physical studio process like when assembling a collage? How much his planned and how much responds to the process of building and layering?
KO: My physical studio practice is intuitive and improvised. I give myself structure by printing and/or collecting collage material and cutting it beforehand, so I have a stockpile of imagery to work with. Then I put on music and begin laying out a composition. Sometimes I glue the pieces down immediately, and don’t determine the composition until the very end. I like the process of creating a visual problem to solve. Sometimes the collage calls for painting and drawing, and sometimes it doesn’t. I am taken by the feeling of surrendering to what I don’t know, and letting the work almost create itself.
MH: What’s next for you in your practice? Are there any things you’ve been wrestling with or are planning to try for the first time?
KO: I’m excited about making a video collage from Google Earth Tour (KML) footage. I’d also like to try larger, 3D collage installations and explore more of the dynamic between the interior and the exterior.
MH: How does time feature in your work? Because you work from photographic images, there’s a feeling of seeing not only an imaginary neighborhood, but also that of seeing a multitude of real places as a multitude of times, all out of order — it feels a bit filmic.
KO: Buildings and streets, more often than not, last longer than we do. We live and travel through these semi-permanent structures everyday. Our lives change so quickly in comparison to the slower decay and transformation of the surrounding buildings. There is a layered sense of time and decay. There are infinite stories happening simultaneously, and in the city it feels exaggerated. In this condensed city, I don’t know the person I share a wall with. I don’t know their stories as they play out at the same time as mine.
I’m also interested in the imaginary, parallel world of digital environments like Google Maps. The photographs are taken at various times and stitched together, resulting in another city built digitally-a discontinuous, fractured depiction of our own.
Naomi Okubo is a Japanese painter represented by Gallery Momo, in Tokyo. About her work, Okubo states,
I’ve always cared about appearances.
The ideas for my work come from an inferiority complex and my experiences in adolescence. As an adolescent, everyone starts to care about how other people think of their appearances.
In my personal experiences, when I changed my own image, people changed their attitude toward me. they started to concern me, and our relationship became better. I also realized the power of fashion and the fear of other’s watchful eyes. I have been interested in appearances ever since.
In Tokyo, Japan, where I live, and in other developed nations, mass media provides us not only with images of created appearances, but also images of lifestyles and ways of spending our time.
We admire these images, and adopt them to create our own images, but we are overly exposed and consume these images so much, that we become confused about what is real and what is contrived. The consequence is that we become addicted to them.
Although it seems like a personal issue, it is connected to greater problems and inconsistencies in society.
In my work, I want to show my thoughts on these problems and inconsistencies taken from my personal experiences.
To see more of her work, click here.