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.
- Rosanna Webster and Phoebe Henry’s cinematic portrait of Cuba
- Alex Hunting’s crisp editorial designs are considered and multi-layered
- Raine Allen Miller’s latest ad shows kids experiencing the “side effects” of tech toys
- Colin Pantall's warm depiction of childhood and fatherhood taken over 12 years
- Ahmet Unver uses photography to explore his Swedish and Turkish roots
- David Shrigley 1, Art World 0: a night out with the artist at Whitehawk FC
- Hate the iPhone X notch? There’s an app for that
- Lisa Simpson’s bookshelf: from the curator of Instagram’s Simpsons Library
- Biplab Hazra’s photo of elephants being attacked by mob wins Sanctuary prize
- Michael Bierut: 13 ways of looking at a typeface
- Uncle Ginger uses hypnotic shapes to animate the facts and feelings of bipolar disorder
- Michel Gondry’s John Lewis Christmas advert – Moz the Monster – is unveiled