Posts Tagged ‘portraits’

Recycled Floppy Disk Art

Wednesday, February 24th, 2010

London-based artist Nick Gentry works with rather unusual mediums – discarded floppy disks and old eight track cassettes. Using these simple outdated and unwanted materials; the artist manages to create stunning portraits.

Spotlight by Nick Gentry

Spotlight by Nick Gentry

“Over the years billions upon billions of disks and tapes have been manufactured and today they are widely regarded as junk. This makes them an affordable thing to make art with,” explains the artist of his work. “Reusing objects that would ordinarily have been sent to landfill makes a comment on the throwaway culture of today. Maybe this work can encourage people to think more creatively about the objects that are deemed to be obsolete or useless.”

Self Portrait 02 by Nick Gentry

Self Portrait 02 by Nick Gentry

Each portrait involves several steps to achieve the unfinished, almost industrial feel of the art. Gentry starts with preliminary sketches and then creates a grid of the images, with each component divided into disk-shaped sections.

Sonata by Nick Gentry

Sonata by Nick Gentry

“Spray paint is applied to the disks using a stencil to preserve the label and metal slider. Preserving the labels is key, as the handwriting and scribbling are integral to the personality and history of each piece,” Gentry explains. “Elements of people’s lives are stored on the disks and although that data can never be accessed again I like to preserve some of that for viewing.”

After the disks are placed in tonally appropriate areas, almost like pixels, to create a collage, Gentry sketches the outline of the head and the features in pencil, with oil paint to finish the details.

Infinite Echoes by Nick Gentry

Infinite Echoes by Nick Gentry

“This process is quite selective as only certain features are finished completely. I like to leave a lot unfinished as it allows the viewer to see the layers, showing how the work has been created,” he explains. “What brings the work to life is that blend of the nostalgic and familiar, together with the freshness of a new form of expression.”

Source: GreenMuze

Brainwashed!

Wednesday, February 17th, 2010
Mr. Brainwash's designed a record cover for Madonna's greatest hits album last year.

Mr. Brainwash's designed a record cover for Madonna's greatest hits album last year.

French artist and filmmaker Thierry Guetta has developed a devoted street art following under the name Mr. Brainwash. But is he serious?

“I’m like a machine, I create and create and create,” Guetta explains, standing in the center of the Meatpacking District event space he rented for a new exhibition of his art made under his unsettlingly blunt moniker. The show was set to open in a few days. Paint was splattered across his pants; canvases, many wrapped in plastic, sat around him, waiting to be hung on the walls; and at least a dozen assistants, many smoking cigarettes, scurried about, finishing pieces.

“It has been two years since my last show because when I do a show, I really do a show,” said Guetta, who looks like a scruffier, skinnier John Belushi, as he walked us through the cavernous space. He’s also been busy, designing an album cover for Madonna’s Celebration release last year (which features the singer in a paint-splattered portrait that is an unapologetic copy of Andy Warhol’s iconic Marilyn Monroe work), following street artist Bansky for the unusual street-art documentary Exit Through the Gift Shop, and periodically stenciling his own pieces around Los Angeles. His origins are largely unknown. Some have speculated that in fact he is the street artist Banksy, who masks his identity even throughout the documentary, while others say he comes from a wealthy French family. (He and his representatives, on the other hand, maintain that he “mortgaged his home” and sold his belongings to pay for the current exhibition.)

Mr. Brainwash, Yves Saint Laurent, 2010

Mr. Brainwash, Yves Saint Laurent, 2010

“The definition of art is: no limits,’” Guetta said proudly as he showed the dozens of square, silkscreen portraits he has had printed with the faces of celebrities. There was a series of fashion designers printed in silver and another series of technology entrepreneurs like Steve Jobs, Bill Gates, and Mark Zuckerberg printed in gold. “That’s the guy who founded Twitter!” said Guetta, excitedly singling out one of the works. As we walked around, a man followed us with a video camera, recording the entire interview.

The exhibition spills across the two floors of the warehouse-like gallery. One whole wall is devoted to prints of Kate Moss, which have been splashed lightly with neon paint. They are near-identical copies of Andy Warhol’s silkscreens, but Guetta acts offended at that suggestion. “Andy Warhol didn’t do a portrait of Kate Moss!” he said. “If I wait until Andy Warhol does it, I’m never going to see it. Just because Andy Warhol painted portraits, does that mean I can’t do it?”

There are also huge mock spray cans, some as big as ten feet tall, scattered about, bearing labels for Hershey’s chocolate, Pepto-Bismol, and Campbell’s Soup. “These things bring you memories,” he said of the brands. “They touch your heart.” Elsewhere, a taxi cab was parked inside gigantic plastic toy packaging, like a Matchbox car. Other work in the show was even more remorselessly banal. There was a portrait of Benjamin Franklin wearing large headphones and a vest emblazoned with Louis Vuitton buttons — “I just try to be kind of funny, with no limits,” Guetta said — and a portrait of the band Kiss made out of broken shards of vinyl records. Guetta does not hide the fact that most of his work is fabricated by his assistants, with his role limited to occasionally doing quality-control touchups, for instance adding an extra bit of vinyl for a Kiss member’s eye. However, he declines to go into detail about his operation. “I don’t want to explain it,” Guetta says. “It’s like cooking. If you go to a famous chef, he might let you taste his famous sauce, but he will not tell you how he made it.”

The artist motioned to a large, wooden paint can, perhaps ten feet in diameter. “When I build installations, why do I do it?” he asked. “It’s not going to make me money.” Is it for sale? “It’s not for sale, but if someone wants to buy it, why not?” Asked to pick his favorite piece in the show, Guetta demurred. “Each one is my favorite when I’m working on it,” he said, before finally settling on a larger portrait of Charlie Chaplin, emblazoned with a pink heart. “I want positivity in everything I do,” he said. He noted that his proudest work was an earlier painting that featured Einstein holding a sign that read “Love is the answer.” Says Guetta: “I think that was a big statement for me.”

Much of Guetta’s work is so unredeemably shallow that it has led some to suggest that the Mr. Brainwash persona is part of an elaborate performance art project, a cynical conceptual experiment to see if, with the right friends (Shepard Fairey has provided a guarded endorsement: “Not all the work was magnificent, but it improved steadily…”) and the right marketing (the Brainwash show is being promoted by Nadine Johnson Inc., one of New York’s most formidable public relations companies) it is possible to sell anything.

At the packed opening a few days later, with a crowd that was more fashion than art-heavy (and which featured a bevy of strikingly tall, afro-bewigged models dispensing vodka drinks), that question seemed to have been answered. Red dots popping up next to works in the show suggested people were buying. According to Clemence, Guetta’s young, omnipresent assistant — “She’s like my mother,” he said during the interview, “she wakes me up and tells me to do more interviews” — the portraits were priced from ten to forty thousand dollars, and rumors abounded that some of the largest installations had sold for as much as $120,000.

Mr. Brainwash represents, in a sense, an art critic’s worst nightmare: a complete leveling of culture, with every exhibition celebrated with a round of cheap applause and a fresh infusion of cash — the more derivative the work, the better. His art embodies the old fear that Duchamp’s readymade will be read not an aesthetic challenge — to make meaningful art when all things are suddenly allowed — but a license for complete triviality: it’s art because someone says it is, and it’s all equally wonderful.

These are not concerns for Mr. Brainwash, though. “Art is not something difficult to do,” he explained nonchalantly, when asked why he did his work. “You just need to pick up a brush and do it.”

By Andrew Russeth
Source: ARTINFO

The Art of Toothpicks

Tuesday, September 22nd, 2009

Stick by stick: Steven J. Backman’s splintery medium finds a home in Carmel gallery

More of Steven Backmans art can be seen at Mountainsong Galleries, Ocean between San Carlos and Mission, Carmel. (STEVEN J. BACKMAN/toothpickart.com)

More of Steven Backman's art can be seen at Mountainsong Galleries, Ocean between San Carlos and Mission, Carmel. (STEVEN J. BACKMAN/toothpickart.com)

Not too many people consider the toothpick an art medium. That is, until they’ve seen the creations of Steven J. Backman.Backman has made a scale model of the Golden Gate Bridge out of 30,000 toothpicks — and a very tiny model of the same structure from a single toothpick. He’s captured the Empire State Building and San Francisco’s iconic cable cars, all painstakingly pieced together from those little bits of wood.

As if all that weren’t enough, he also has made toothpick portraits of celebrities and abstract sculptures from — you guessed it — toothpicks.

Backman’s work is so distinctive that it has earned several mentions in “Ripley’s Believe It Or Not!”, the New York Post and Reuters.

“I love making art. It’s a unique medium, and it’s very challenging,” said Backman, a 42-year-old San Francisco native who began playing with toothpicks as a child, and obviously never stopped. “I’m one of the very few that does this, I think.

“It’s an item that you’d use to pick your teeth or pick up hors d’oeuvres. I’ve elevated a thin sliver of wood to a work of art.”

Lest you think this is merely an exercise in weird constructions, Backman’s work is now being carried by a Carmel art gallery, where currently a number of pieces may be seen anytime the gallery doors are open. (More of his work may be seen online at www.mountainsonggalleries.com or at Backman’s site, www.toothpickart.com.

Mountainsong Galleries of Carmel is Backman’s exclusive worldwide representative, and thus is the only place where the sculptures may be purchased.

Lucinda Mountainsong, co-owner of the gallery with husband Jonathan, said their recently opened establishment features works by California artists, with scenes from the Monterey Peninsula and other places around the Golden State.

She said Backman’s intricate work always draws comments from visitors, who are impressed with the intricacy and attention to detail.

“There’s one cable car that has little lights all over it,” she said. “Steven hollowed out toothpicks to hide the wires.”

Backman’s unusual path to the world of art really took off after he received his bachelor’s degree in industrial arts from San Francisco State University in 1984. He got the idea to make a cable car out of toothpicks — “I love cable cars, I used to ride them all the time” — and then he made another. And another. And another.

He then began to turn his attention to other historic landmarks. His 13-foot-long scale model of the Golden Gate Bridge took more than two years and 30,000 toothpicks to complete. In a happy coincidence, he finished the model just before the bridge’s 50th anniversary in 1987, and so it garnered a lot of attention — it was displayed at San Francisco City Hall and received proclamations from past and present mayors.

The bridge now belongs to the “Ripley’s Believe It Or Not!” museum in Hollywood, which bought the piece for $250,000, according to Mountainsong.

Backman’s works are unique in other ways as well. At a distance, his works don’t look like they’re made from toothpicks, but appear as though they are carved from a single piece of wood.

No extra material is used to support any of his structures — he uses nothing but toothpicks and Elmer’s Glue to make them — and they are not lacquered or painted. Even his bridge replicas use no wire or cables, just toothpicks.

And so far, the pieces have proved they were built to last.

“I have some pieces that are over 25 years old, and they’re holding up just fine,” said Backman.

He also takes great pains with his replicas of famous structures. For instance, when he made a scale model of the Empire State Building, he was able to obtain copies of the building’s original blueprints, which he pored over so that he could get it just right.

In addition to these labor-intensive works, Backman also does toothpick portraits of famous people, including Carmel’s own Clint Eastwood, the Obamas and Oprah Winfrey, and also re-creates works of art like “American Gothic” and the Mona Lisa.

These, Backman said, are fun and don’t take so much intense effort over long periods.

In addition, there are several sculptures Backman has made from a single toothpick. He swears he uses no magnification devices when he carves these — “My eyes are pretty good, I guess.”

The toothpicks are “like tiny building blocks,” said Backman, who uses several different types in making his sculptures, including unpointed “blanks” that come directly from a toothpick manufacturer.

His next challenge: creating scenes in Monterey and Carmel … from toothpicks.

Backman has had his work on display at Mountainsong Galleries since August, and his work will be highlighted with a special exhibit at the gallery this December. A reception will be held, with Backman in attendance, on Dec. 4 from 4-7 p.m.

Backman’s motto is “The Essence of Patience,” which pretty much sums up his dedication to his craft.

“You stick with something long enough, you get good at it,” he said.

If you go:

What: The works of toothpick artist Steven J. Backman
Where: Mountainsong Galleries, Ocean between San Carlos and Mission, Carmel When: Open daily 10a.m.-6p.m. Reception for Backman set for Dec. 4, 4-7 p.m.
Information: www.mountainsonggalleries.com or 626-0600

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