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Archive | Painting

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At their normal scale, ‘s paintings are epic, dazzlingly detailed and savagely visceral. Laser-beaming minotaurs, nut-crushing wrestlers and Super Saiyan pop stars burn with adrenaline-drenched zeal and hyperbolic intensity inspired by “the pleasure and pain of the male orgasm.” Twenty years from now, the unshakable imprint of these images will linger in your brain, whether you like it or not.

Now, Ruiz excitedly embarks on the painstaking painting of his– and possibly our entire planet’s– largest watercolor ever. I tracked down the San Francisco-themed “disasterpiece” this week in Fontana, where it was discretely strapped to the backside of a two-story home on a severely suburban cul de sac. Conrad was kind enough to give us an exclusive sneak peek at the canvas as he begins this unprecedented artistic odyssey. So without further ado, I’m proud to present Conrad Ruiz, the World’s Largest Watercolor, some wistful tales of youthful indiscretions and a paean to the transformative power of punk play-fighting.

canadian viagra for sale. It’s pieced together out of ruminations on art school, flashes of violent dreams, childhood memories about going to the movies, and the lyrics of . It’s kinda long, so here’s just a small segment that may shed some light on the mind of Mebius, impenetrable illustrator of the Netherlands:

5. On the day I failed as an artist, I wrecked my studio.

I was at my work table (where I spent hopeful hours doing nothing nearly every day), kicked over the chair and up-ended the table. Which took a bit of an effort; it was a heavy table. Everything in my studio was of the highest quality.

After the table it was the turn of the cupboards where I kept my materials. I pushed them over, spilling out their barely used contents: pens, brushes, pencils, chalks, tubes, pots, bottles, rollers, buckets, marker pens, spray cans, tape, stags of paper in all shapes and sizes, scores of sketchpads ( in all shapes and sizes), boxes with clippings, scrapbooks, projectors, rulers. I pulled out the phone plug and hurled the phone into a corner. Then came the paintings, or more accurately the empty canvases I had stretched and prepared myself, which were stacked in layers against the walls. I kicked them, booted some of them to pieces and slung them onto the pile. Ventian blinds and curtains were next. The bookcase (art books, art magazines) was the last to hit the floor. canadian viagra for sale by ended up on top. Pure coincidence.

6. My failure as an artist did not consist of the fact that I had destroyed my studio (nor the days, weeks, months of stagnation and inertia that preceded it), but that I had failed to photograph the aftermath. I only realised this much later, when I saw Jeff Wall’s canadian viagra for sale.

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Go back in time, before there was TiVo, before there was Internet, back when you relied on the canadian viagra for sale to soak up the smallest shreds of TV trivia. Imagine being a kid again, on the shag carpet of your parents’ wood-paneled den, wasting away the long summer days indoors. The fan’s blowing as hard as it can, pushing hot air around, and you’re propped up on your elbows waiting patiently for Star Trek reruns to start. “Space,” finally, “the final frontier.” And for the next 30 minutes you’re somewhere else entirely, sucked into the set, and you wish you could just live in there forever, with these characters you’ve come to love. They’ve been with you through so many hard times, and you with them. Especially the handsome, severe (but secretly sensitive, and somehow sexy) Captain James Kirk.

Painter calls Kirk “a model of vulnerability … a most stout and reliable figure,” and notes “if you have watched enough TV, you know this to be true.” In Butler’s series, we’re granted the chance to linger in the golden fantasy-land of Kirk, his deep space compatriots, and the suave ubermensch buddy cops of Starsky and Hutch, frozen in moments of strong emotion, tender affection and terse action. All unnecessary elements have drifted away, as Butler isolates these beautiful, irreplaceable cathode-ray men, amidst a universal expanse of resounding gray silence.

Along with Future Shipwreck favorite– and fellow TV-devotee– , Butler sits on the roster of San Francisco’s tremendously rad . His other bodies of work include a haunting tribute to “” and a creepy-funny series of depicting 1970s world leaders luxuriating in the nude.

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Bursting with visual information, ‘s work engulfs the viewer in a raging storm of violence and masculinity. His consistently confrontational aesthetic spreads across a variety of disciplines including painting, sculpture, and video, but Kenny’s most awe-inspiring work comes in the form of found shooting range targets outfitted with roccoco doodles of scantily clad thugs, vibrant colors, bullet holes and symbols of sportsmanship.

and American Apparel have just unveiled a delightful set of , one of which features Kenny’s handsome physique. Check out the titillating towel after the jump, along with a selection of the artist’s awe-inspiring recent pieces.

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Daniel Heidkamp

Daniel Heidkamp

Uncouth, cheeky and yet ultimately sensitive, ‘s paintings seem to reflect the personality of a surly drunk stranger you’d instinctively avoid– until his waxing and waning rambles flower into poetry, and the tension in your shoulders dissipates as you allow his rough hewn charms to warm your heart. Heidkamp sits alongside on the Boston-based ‘s roster.

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Misaki Kawai

– indisputable master of painting, illustrating, sculpting and crafting– has two for sale on her site! They are both inspired by a trip to Nepal. One of them is bound with pop-poms. Check out some amazing Kawai pieces of all types below, plus a great ten-minute documentary about the artist from .

Now, in the artists’ words, it’s “time to wear bikini and play with octopus in the beach! enjoy the days, misaki.”

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Michael Berryhill

‘s paintings exude vibes of the surreal yet stoic variety. The unnerving echo of a pulse seems to beat under each still life. Mostly, we are presented with inexplicable assemblages of inanimate objects: some real, some abstract. The human consciousness at their core is hidden from view, but easily perceived. A book pretends it is just a book, a form does its best to appear form-ish– but we know better.

Michael Berryhill
Gay Pride Moustache, 2008

The objects Berryhill represents aren’t just visually pleasing, they’re relatable. You find yourself identifying with a draped piece of fabric, a blue polyhedron floating in pink mist. Though static, they manage to convey some element of the artist’s personality that’s just immediately likable. These paintings prove that anthropomorphism isn’t a quality reserved for talking animals and furniture with faces, it can be achieved subtly, graciously.

Michael Berryhill
Harry Dean Stand-In, 2008

There’s something positively -esque at work. Berryhill manages to activate that same epic feeling of gazing out into the courtyard of your subconscious, but instead of marble columns and Classical statuary we’re given guitar necks and long-haired doodz staring intently at lord knows what.

These are the beautifully distorted tableaus you take for granted in your deepest dreams, where you’re running late for band practice and you suddenly realize you’ve never played an instrument in your life and that dead pet bird you had when you were 12 is now alive again, but also on fire. Here, in the waking world, Berryhill has entrusted us with the time and opportunity to take in their aesthetic merits without all of those distractions. You’re welcome.


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