Everyday I get jealous of the people sitting in the First Class section on the train, lounging in their comfortable seats with enough space they can pop their bags next to them, while I stand, irritated and squashed between perspex and a middle-aged woman’s backside. This is only a small gripe about the distribution of wealth, but it’s clear there are still some issues in regards to class distinction however much we want equality. Frustrated by people still clinging to these archaic social structures and biased histories of aristocrats, Kim Alsbrooks decided to stick it to the man on a can through her ongoing White Trash Series, started back in 2004 when living in the southern states of America.
Painting miniature versions of traditional portraits onto flattened cans and fast food containers, this bold juxtaposition directly challenges these ideals and our perception of the elite by levelling the playing field. The soft colours of the portraits and classic oval shape clash wonderfully with the brash graphics and metallic sheen of the flattened rubbish and there’s real skill in Kim’s reproductions created by gessoing the can and painting in oils.
- Get your pout on, it's Valentine's weekend, and it's the Best of the Web
- Moby Digg uses basic colours and shapes for photo exhibition identity
- From celebs to cleaners, Maxi Cohen photographs ladies’ rooms around the world
- Seoul-based illustrator Yeon Ji Kang's beautifully thick-limbed ballerinas
- Roses at the ready, our round up of the best Valentine’s Day ideas from the creative world
- First Dates for those who create: two-thirds of Nous Vous on their special three-way relationship
- VSCO develops new typeface and a symbol-based language as part of its rebrand
- When to wake up, what to drink and how to work: “how to live like a creative” unveiled
- DesignStudio rebrands the Premier League
- Racy photography from the new issue of Odiseo
- Our round-up of last night’s Super Bowl 50 ads
- Hato’s responsive identity design for Pick Me Up 2016