Meet Mehdi Ghadyanloo, a proficient street artist from Teheran, Israel.
The artist style is ‘illusion’ and his works always need you to look again and again to understand what it is all about but that illusional aspect is most definitely why so many people appreciate it.
Surreal scenes are often depicted in his murals such as a man floating up into the sky and holding on helium balloons.
Mehdi Ghadyanloo is a painter and designer based in Tehran, Israel. His street art is extensive. What makes his artworks particularly intriguing is that they are full of dimension that tricks the brain.
Kelsey Brookes has reinvented psychedelic art for the 21st Century for his UK debut exhibition.
His latest body of work consists of large scale canvases, with paintings of animals, bold geometric shapes and kaleidoscopic abstraction, which is unusually inspired by migranes.
The powerful affliction is often associated with not only visual hallucinations but all other ‘synaesthetic’ experiences (the interpretation of one sense as another, for instance ‘hearing’ colour). The geometric lines and colours come directly from the hallucinogenic experiences just before the headache.
The work is impulsive, extravagant and spontaneous, an echo of the spirit.
‘Made in Britain’ – a Themed group exhibition featuring all new 24 x 24 inch artworks from a selection of talented artists living and working in the UK.
A few works from Codefc can now been seen across Amsterdam. We have put some of these below. We particularly like the juxtaposition with the famous painting “The milkmaid” by the Dutch painter Johannes Vermeer.
3D technology which once was promised to succeed (back in the 80s) completely disappeared (or almost) as a medium for any artistry around but this is changing. 3D movies have been a regular hits at the Box Office while 3D gaming is booming.
3D and dance?
Meet Adrien M and Claire B, pioneers in embracing and using multimedia in their choreographies, present us with a fascinating and reactive projection-mapped performance. The Movement of the Air, now a video, is bond to bend they way you usually looked at dance.
How does it work?
Collaborators Rémi Boissy, Farid-Ayelem Rahmouni, and Maëlle Reymond manipulate tornadoes, columns of smoke, and lively geometric shapes in real time.Unlike normal projection mapping, which relies heavily on pre-planning a show to fit every contour and crevice of a surface, Adrien M and Claire B let shapes and patterns emerge in response to the people on stage.
Plus the dancers move to the rhythm of live music, adding one more layer of irreplicable humanity to the show.
I still don’t get it, pls clarify
No one better than the artists themselves may be able to shed some light on the technicality of the use of 3d and dance. Here is what they said to The Creators Project
The set is inhabited by a 3 face structure: two vertical panels of white gauze and a white dance oor are asymmetrically combined to create an immersive projection system. This « living light » is produced by video projectors and generated in real time by a set of algorithms.
It is a mix of control room operated human interventions and onstage sensors data that outlines a precise writing of motions and generative behaviors. They are generated according to physical models and therefore remind everyone of their own real life experience and imaginary of motion.
We announced a little while ago that we were part of the Noise Intercepted project, a global art project curated by Labspace Studio (a creative agency & art house in Toronto, Canada). Noise Intercepted is a series of ten experience-activated noise challenges that prompt participants to listen, observe and interact with their urban soundscape in new and unlikely ways.
Challenge #1 is in and so is our entry – see below
Noise challenge #1: The Pulse
If your city had a defining sound, a defining pulse, a defining heartbeat, what would it sound like? look like? or feel like? …where would you go to find it? You have 1 week to venture outside and find the pulse of your city.
We thought for the obvious right away, we need to capture a sound, the pulse. And at night where sight is diminished by the darkness. But we were wrong, the pulse was visual. We started walking down the street trying to hear out for the pulse of the city but we found visual signs everywhere that we immediately associated to the pulse. We had found the pulse: the light.
Then focusing on the light, we sat back and listened and all sort of sound patters came to life. we had found the origin of the pulse: us, humans.
Jester Jacques – First of all, how did your interest in art making come about? Were there any specific events or influences in your childhood which swayed you to be more creative?
Novemto Komo – I have always been doodling since I was kid, on the wall of my parent’s room and my room; also sticking stickers I got on the doors all around the house.
Simon Sarin Photography Copyright
I remember when I was in kindergarten and elementary schools, almost every weekend my parents took me to “Ancol art market” to see paintings, sculptures and crafts by local artists. We got our family portrait from one of the artist there using paper cut, and when my sister and brother were born, we also get their portrait done by the same artist. I also participated a lot in kids drawing competition and some of them came out top 3.
I also remember saw a painting by Ford Madox Brown, titled “Take Your Son, Sir!” in a book and I was finally able to see it in real a year ago in Tate Britain.
JJ – You were born in Indonesia. Does any of the culture seep into your work, even though you live in the UK?
NK – It does influence me a lot. There is so many social issues going on in Indonesia that kind of influence my way of thinking when developing the idea.
Also, the diversity of animals in Indonesia can be seen on most of my artwork lately. A lot of animals in Indonesia are very rare now and a lot are in risk of extinct.
JJ – Where did you study Fine Art and do you think it helped in your career as a visual artist? In what ways?
NK – I never studied Fine Art, I was trained as multimedia designer which lead to my first job as a junior flash developer. Then as time went on, I got more jobs doing illustration which carried me into doing more hand drawing/illustration. I got more into painting when I took my master in graphic design in 2010 at Newcastle where I had a lot of spare time to practice and develop my skills.
JJ – What is your fascination with animals? And anthropomorphising them?
NK- I started using animal a lot in my artworks as they are part of our life. They are also very attractive subjects because they are beautiful. I believe every human has their wild side which I interpret through animals.
I also want to bring awareness to people about animal extinction, especially caused by poachers and hunter. I’ve followed and joined a hunter online forum and feel sad every time I see them posted photos of animal they killed proudly.
Simon Sarin Photography Copyright
JJ – How do you get inspired?
NK – I get inspired from many things; news, people around me and their relationship towards each other. A lot of time I got inspiration by talking with strangers or random people. I visit Stolen Space Gallery a lot and Signal Gallery. I guess I get a lot of inspiration from street art around the world and there are so much of it in London created by international artists. To name a few, Faith47, Remi Rough, and Anthony Lister.
JJ – In your painting ‘Worst thing of Screaming,’ there is a feeling of pop art in there; the Lichtenstein type of shapes. Tell us more about that particular painting, as it stands out to me in your most recent body of paintings.
NK – The starting point of that painting was based on an idea of relationships. There are many situations where no one listens to you even when you scream out loud and sometimes it make you scream even louder, which end up make you feel like a freak show.
JJ – You do commercial work as an illustrator. What do you enjoy doing more – that, or your personal work? Is there an overlap in ideas and style, or do you try and keep them separated?
NK – I always try to separate the idea and style between them, but I have to admit sometimes there’s a mix in some of them.
JJ – Your work has a collage feel to it. How do you begin a new piece? Do you actually cut and paste, or just play with objects and figures as you go along?
NK – I never thought my work has a collage feel but I heard some people said that they thought my work was a collage, especially “escape the game.” I guess I just play with objects, figures and imaginations to visualise my idea into a painting. Many times when I’m in the middle of painting, I come out with some graphic elements that I can incorporate with and I just play around with it.
JJ – Do you have any exhibitions or projects/events coming up which we should look out for?
NK – The exhibition that I confirm at the moment is in December but I am doing another live art on the Tuesday the 24th this month during Jam Sandwich at The Russet Cafe. It is a monthly music event which I paint live depending on that night performers.
JJ – Finally, what piece of advice would you give young artists who want to pursue visual/fine arts?
NK – If you’re happy doing it, keep doing it as you never know what might happen.
This week debuts the 2016 London Art Fair at the Business Design Centre in Islington, running from Thursday January 20th – Sunday the 24th.
Find out what’s being said about this year’s Fair – #LAF16
The London Art Fair 2016 features 126 carefully selected modern British and contemporary galleries, displaying work by over 1,000 artists covering the period from the early 20th century to the present day.
Educational talks, insightful tours and interactive events
Highlights include:
Thursday 21 January including Thursday Late in association with Peroni Nastro Azzurro
The Fair stays open until 9pm for a special programme including a performance and a PLAY ART DATA MONEY game jam. More information
Friday 22 January
Find out how artists are responding to today’s migrant crisis and whether London’s international reputation as a city of culture is at risk due to soaring rental prices. More information
Saturday 23 January
Key stakeholders in the UK contemporary gallery sector discuss the affect that increasing adoption of social media is having on art buying behaviour and Magnum photographer Olivia Arthur reveals her Desert Island Pics. More information
Sunday 24 January
Family-friendly workshops inspired by Julian Charriere’s current exhibition at Parasol unit for contemporary art. More information
The latest JRinstallation is strong and powerful. Meet Kikito, a Mexican baby boy.
The place: the US-Mexico border fence. Which way is the baby looking over? You would have guessed it – Kikito is looking over the border from the Mexican side.
The daily struggle for Mexicans to cross the US border
This new installation,a huge scaffolding installation, tells us about the struggle of millions of Mexicans to cross the border and enter the US.
Kikito is depicted as happily playing while looking over the US side of the infamous border wall but neither him nor his family can see that, neither him nor his parents can cross the border – and this is the point of this artwork.
Click to enlarge
Each time I’ve seen walls that have caught my attention, or that I’ve heard about a lot in the media, they would stick in my mind. I would even dream about it. When Trump started to talk a lot about a wall along the Mexican border, one day I woke up and I saw a kid looking over the wall.
I was wondering, What is this kid thinking? What would any kid think? We know that a one-year-old doesn’t have a political vision, or any political point of view. He doesn’t see walls as we see them.
JR
Up until the 2nd October
If you are lucky to be in Southern California between now and the 2nd October, here is the exact location. We would strongly recommend to swing by to see that.
A view of the scaffolding used for this installation
About JR
JR is a French artist who has been working on his “Inside Out” project for quite a few years. He travels the world in his photo-booth truck and snap portraits of people he meets along the way. Then, he pastes them onto buildings or walls – or on scaffoldings in this instance.
This week debuts the 2016 London Art Fair at the 
The latest 