“Robert Montgomery works in a poetic and melancholic post-situationist tradition”, or so says his website. The work is great though and spans large typographic billboard pieces, recycled sunlight pieces and drawings.
Public art project London is Changing makes Londoners uncomfortably aware of the truths we’re perhaps trying to ignore: that our city is morphing beyond recognition, that creativity is at risk, and that for many people, it’s simply becoming unaffordable.
While keeping himself busy with postmodern Howard Hodgkin-esque painting and collage work, Ben Sanders is somehow finding the time to paint funny faces on ceramics. Cutting through the “worthy lifestyle” pottery trend with googly eyes, zigzag nostrils and creepy grins, Ben has stamped his sense of humour and aesthetic all over these thriving succulents’ homes.
A “giddy joy” was described as the feeling evoked by the artwork of Olafur Eliasson when we interviewed him for last year’s Autumn edition of Printed Pages, and with his monumental, often participatory pieces, it’s not hard to see why. From his incredible 2003 Weather Project at Tate Modern to its portable, socially-conscious, tiny counterpart Little Sun(which “produces clean, affordable, and portable solar-powered lamps to areas of the world without reliable access to electricity”), his work is a glorious, utterly original ray of light shining on the sometimes impenetrable art world.
In another brilliant feat of creative engineering that bridges the gap between music, art and design, a project at the White Cube gallery in London’s Bermondsey sees musicians including Sonic Youth frontman Thurston Moore perform a composition for Christian Marclay, which is recorded and pressed on site by The Vinyl Factory Press. The press is housed in a shipping container, and the artwork for the record – also created on site – is designed by Christian and printed by Coriander Press, in a series that feels like cottage industry, DIY ideas brought into a slick, art-world setting.
“Think of bayous…crawfish…sea creatures…metal…tieing shoelaces…not knowing what to do sometimes and just doing it.” This is Lynda Benglis’ bizarre monologue, with which she ends the introduction to her new show.
Brecht, after five years of admiring your work I can happily say that I can spell your name without looking. And I can tell you that even though I’ve spent years admiring the skill of your painting, I can finally say that I think I actually get it. Over time, Brecht’s erratic artworks have become increasingly crowded with characters, pop culture references, logos, and his trademark long-limbed creatures.
It’s my personal opinion that some of the most exciting creative work starts life as a side project to distract from commercial jobs. Such is definitely the case for Antoine Corbineau, a French illustrator and designer who has worked on a plethora of projects for commercial clients, drawing up large-scale, intricate scenes of characters interacting in an enormous, often map-like style. Potentially even more alluring, however, is Antoine’s painting work. It’s distinctly less bright, almost realist in its approach, depicting familiar domestic scenes and landscapes interspersed with small but resonant human activity. His attention to minute detail – the foliage of a plant, a picture frame, the icons on a computer screen – and his accuracy in creating scenes that you could swear you’d seen before makes this body of work oddly enchanting.
Seth Bogart is quite the Renaissance man. The frontman of San Francisco-based band Hunx & His Punx is also an artist, producing paintings, drawings and ceramics; a video director; a photographer and a fashion designer. He has collaborated with Yves Saint Laurent and has his own store, Wacky Wacko, for which he also designs installations. Seriously, this guy.
Latvia-born Ella Kruglyanskaya now lives and works in New York, depicting cartoon-like friends and “frienemies” out-and-about in large-scale oil paintings and murals. Ella’s work is packed with bawdy humour, exaggerated forms, exuberant mark-making and interactions. She describes her intention as “pictorial events… [that] aspire to an unspoken punch line” – the content, references and line-work all filtered through comedy.
Annie Descôteaux’s work is confident, engaging and straight-forwardly slapstick. The Montreal-based artist works with installation, drawing and collage and has seen her work exhibited and discussed at conferences on colour theory. In equally impressive outings, it’s also appeared in Bloomberg and Pica magazines, among other publications. Annie’s collage work is well-balanced with clean lines, sharp colours and discreet humour; each piece littered with raw steak, fried eggs and shuttlecocks.
Olivier Vrancken is a graphic designer and artist based in Holland. Painting and drawing his way through commissions and personal work, he is inspired by everything from primitive art to the great lyricists that are Black Sabbath. Olivier has exhibited all over Europe, his Cubist aesthetic and visual references laden with nods to cut-outs, still life, architecture and the human form. There’s a great colour palette to his work and some nice titles like Bad Hair Day and Wanderlust. Olivier’s work reminds me of the prints that appeared all over the T-shirts of the 1980s, in a good way.
Me nut nut nut was one of Jason Murphy’s daughter’s first utterances, and is now the name for his drawings of awkward stories of fear and incompetence. Inspired by the physical comedy of The Young Ones and The Ren & Stimpy Show, Jason’s drawings rely on comic intuition and references to real-life moments, like dropping a potato on his cat.
While we wait to take our turn to become a sort of strangely sanctioned voyeur as PJ Harvey records her ninth album, thinking about what’s ahead feels peculiar. Essentially, we’re going to see PJ (Polly Jean) Harvey, her band, producers Flood and John Parish, a photographer and two engineers making an album in a Something & Son-designed box, formed of glass that allows visitors to see in, while the musicians can’t see out.
