I have been known to paint on wood, canvas, ceramics, paper, furniture and clothing, and even tried painting on kids’ birthday cakes with colored frosting. Some artists use skin as a canvas. But unlike decorative body painting and tattoos, artist Emma Hack has taken this living medium to an entirely new level. It might require you to look twice at the work below to discern the human body in her gorgeous works; Emma is the master of camouflage.
Hack’s work is part installation and part body mural. An Artnet News interview reports that Hack, an Australian artist, spends between 8 to 15 hours to complete one of her works, which sounds like speed painting to me. Her wallpaper series, above, is based on patterns created by the late designer Florence Broadhurst.
Unfortunately, outstanding art is often not enough on its own to propel an artist into international stardom. In Hack’s case, she made it to the big leagues when her work appeared in a music video that went viral. The video is pretty awesome and worth a few minutes of your time.
Alexa Meade‘s work is very different from Emma Hack’s yet they have both developed a totally original way of incorporating the human body in their oeuvre. Meade paints an expressionistic portrait directly on her subject’s face, clothes, hair creating a strange new dimension – it’s not clear exactly what we are looking at until her subject starts to move!
It may be confusing to get your head around Meade’s process so I will leave it up to the artist to explain in the short TED talk youtube below.
Meade made it into the Washington Post when she unleashed one of her walking portraits on the metro. I think this is great. I’m all for a painter who makes people sit up and take notice.
If you are as impressed with these artists as I am, here are links to more of their work :
The Katzen Art Center at the American University Museum in Washington DC is hosting simultaneous exhibitions that pit the two Koreas in the artistic arena.
The two exhibition posters pretty much lay the groundwork for what visitors should expect – and by that I mean don’t expect the unexpected. The second floor, dedicated to South Korean contemporary art, features ten artists whose work would be right at home in any white cube New York gallery. Take a look at the two oversized, stunning portraits by Kang Hyung-Koo. Obviously American iconography is alive and well in South Korea.
The artist succeeded in producing a super glossy, almost metallic sheen in the eyes while painting the rest of the portrait in heavily textured, sandy monochrome. The same process was used in Lincoln, below.
Another artist, Jin-Ju Lee, produced sensitive works that managed to be contemporary whilst imparting a more traditional flavor through its narrative and use of material.
I was also drawn to a hand wrought wooden sculpture (below) by Yun Suk-Nam that spoke volumes more than the glossy fiberglass wall mounted piece by Byun Dae-Yong reproduced on the exhibition’s brochure front page.
A walk up the stairs to the museum’s third floor showcasing North Korean artists transported the visitor to a totally different reality. The exhibition’s curator, Professor B.G. Muhn of Georgetown University, states in the catalog that one of his goals in mounting this exhibition was to examine “..if there was evidence of free, individual expression in North Korean art.” Well, no surprise there – the answer is “no”. The “fantastical and exaggerated works (sic) expressing theatrical and melodramatic emotions” were a direct take-off from the social realism paintings fostered by Stalin and Mao Zdong during their repressive, authoritarian regimes.
The paintings were rife with propaganda, glorifying the working class (most of whom are dying of starvation as you read this) and the military might of this ‘great’ nation.
Even though the artists displayed an amazing virtuosity of the ink on paper technique and uncanny attention to detail, the works left me saddened.