The biggest news of the story of the past couple of years has probably been Edward Snowden’s crusade against the US authorities’ snooping tactics. It’s been spearheaded by The Guardian so it’s quite an honour for a creative to be asked by that very newspaper to create visuals for its own magazine’s coverage.
But Kyle Bean seems to thrive under that kind of pressure. In his two final images – a USB made into a whistle and a portrait of Snowden created from circuitry – he takes strong, simple (but not trite) concepts and executes them flawlessly.
Even in print his model-making skills shine through, as can be seen in the recent body hacking cover for The New York Times Magazine and his charming work to promote the Motion Factory exhibition.
Already high, Kyle’s creative stock seems to have risen to a whole new level recently.
- Felicity Hammond's art sends up the visual language of luxury property developers
- Gillian Wearing uses the public's work to examine privacy and individual vs collective experience
- Anna Biel defies convention with "trashy" illustrations and animations
- Polish illustrator Gosia Herba interprets myths and legends in pastel tones
- Jason Shulman captures entire movies in a single image
- Rebecca Chew adds handcrafts to Esquire Singapore’s art direction
- Don't Hug Me I'm Scared - an exclusive interview with Duck, Red Guy and Yellow Guy
- Yoshinori Mizutani captures the colourful, rain soaked commuters of Tokyo
- Poem Baker photographs the Jûngølā drag clowns of London’s Deptford
- Stack founder Steven Watson shares five of his top magazines
- Photography: New show at LCC shows young travelling communities of the 90s
- Hilarious and charming new Maynards Bassetts' Liquorice Allsorts ad by Jack Sachs