Author: Kris

Alyssa Monks

Kiss 2011, 72×48, oil on linen

Tell 30×20, oil on panel, 2011

 

Using filters such as glass, vinyl, water, and steam, I distort the body in shallow painted spaces. These filters allow for large areas of abstract design – islands of color with activated surfaces – while bits of the human form peak through. In a contemporary take on the traditional bathing women, my subjects are pushing against the glass “window”, distorting their own body, aware of and commanding the proverbial male gaze.

 

 

 

Kumi Yamashita

Constellation – nails on wood with a single black thread

Constellation is an ongoing series of portraits by New York artist Kumi Yamashita known most prominently for her innovative light and shadow sculptures. Each image is constructed from a single unbroken black thread wound through a dense array of galvanized nails mounted on a painted white board, meaning that the darker areas within the portrait are formed solely from the density of the string.

Craig Alan

American artist Craig Alan creates unique portraits of pop-culture icons using people as pixels. Some of his famous pieces include Marilyn Monroe, John F. Kennedy and the Statue of Liberty, but probably the most incredible one is the portrait of Audrey Hepburn from Breakfast At Tiffany’s.

 

Andre Wee

Between Creation and Destruction, 2012

 

 

Roy Nachum

Colorblind: Golden Boy 2011, Oil On Canvas, 186.69 cm Diameter (73.5″ Diameter)

Forever in your eyes. Here we are again ready to be. Deep but barely there, whispering: I shall be magnificent.

Colorblind: The Queen, 2011, oil on canvas

 

Seung Mo Park

wire mesh : via thisiscolossal.com

Using a process that could be the new definition of meticulous, Korean sculptor Seung Mo Park creates giant ephemeral portraits by cutting layer after layer of wire mesh. Each work begins with a photograph which is superimposed over layers of wire with a projector, then using a subtractive technique Park slowly snips away areas of mesh.

 

matt wisniewski

 

 

 Initially I take a number of portraits and textures I’d like to use and experiment with quick overlays. Once I find a combination that works I’ll expand on it. In terms of technical stuff the actual overlay is as simple as using lighten or multiply in Photoshop. Most of the work is deciding positioning and what parts of each image to show, cleaning things up and matching contrast.