The nature of my job here means I spend a lot of time exploring work online, perusing projects that have been sent in or jumping from blogroll to blogroll in the quest to discover something that floats my creative boat. But sometimes the laws of concentration (and optometry) require me to get away from the computer for a few minutes and it was an impulsive visit to the White Cube Hoxton Square gallery just round the corner from It’s Nice That HQ that brought me face-to-face with Jessica Rankin’s extraordinary work.
The Sydney-born, New York-based artist is currently exhibiting Skyfolds 1941-2010 which focusses on a series of impressive embroidered pieces, but it was her drawings that captivated me – huge, intricate and powerful. Like the night sky that inspired them they balance infinitesimal detail and almost incomprehensible overall effect, with interesting titles hinting at an intense personal connection to the artist. Combining graphite and watercolour, there’s endless pleasure to be had losing yourself in the byzantine composition and the paradoxical stillness achieved over and above the crowded hustle and bustle of the works. Beautiful.
Skyfolds 1941-2010 runs until July 7.
- Dressed in Black: the resolute book covers of the Spektrum series
- Dima Shriyeav’s textured poster designs incorporate hand-drawn and digital elements
- Hai-Hsin Huang’s detailed and delicate illustrations present “the lightness of being”
- Laurent Eisler draws playful figures in “precariously balanced compositions”
- Small Gods magazine explores “anomalies of the drone”
- Adam Wells animates Love and Radio’s Dan Deacon interview through obtuse vignettes
- Fashion photographer Miles Aldridge shoots the cast of Game of Thrones for Time Magazine
- The Netherlands’ royal crest changes gender for national women’s football team kit by Nike
- Peek inside erotic magazine Odiseo’s very NSFW tenth issue
- Rick and Morty’s Exquisite Corpse trailer features 22 animators including Simon Landrein and Bendik Kaltenborn
- Design director, Gail Bichler, on The New York Times Magazine typography exhibition
- Mark Shaw captures the glamour of haute couture runways from the 1950s