WORDS Steve Smith PHOTOS Supplied

Leah Rolando has you fooled – methodologically speaking. Although it may appear so, she hasn’t painted or drawn these works, and there’s no illustration software involved, either. In fact, beyond Photoshopping out the occasional piece of Prestik, there’s virtually no digital manipulation at all.

The Prestik is there because what you are looking at are photographs of three-dimensional sets that Leah has constructed from board, coloured Perspex and – sometimes – vinyl stickers. She creates abstract still-life vignettes, carefully lights them, and photographs them from various angles, depending on the shapes and colours she’s looking to conjure up from the interaction of the opaque Perspex with the shadows it throws. The actual image Leah shoots gets printed onto Perspex – again not, as you’d expect, onto paper protected by glass. Then there’s the framing, which is an integral part of the artwork. The kiaat wood for each print is hand-picked, and each has a small, inlaid spline of polished Perspex, taken from the colour used in the work. “I’m also experimenting with other techniques using Perspex instead of wood,” says Leah.

What Leah hasn’t fooled is gallerists, or savvy early adopter art buyers. A passing glance may register simple graphic shapes, but there’s a sophistication here that nods to US expressionist Helen Frankenthaler’s groundbreaking soak-stain paintings, Dan Flavin’s fluorescent light installations, and Henri Matisse’s cut-outs. Her work has been picked up by Everard Read gallery, and she’s had successful group and solo exhibitions at Open Studios Kommetjie and Art Under the Bed.

Her origin story

Leah’s path to art photography has had a few gentle curves in it. After studying fi lm and working in the film industry, she did a stint as a multimedia producer for a big media house, before packing that in for an extended holiday in Asia. During her travels, armed with a bottom-of-the-range professional camera, she took up street photography, which provided her with a more hands-on creative experience.

Once back in South Africa, she carved out a career as a product photographer – something that really kicked off during the Covid lockdowns as brands needed their products photographed for online shopping. “It became a bit of a niche for me, which is basically what my art is – it’s product photography with a very small, very controlled set.

“Shooting with Perspex started when I did a test shoot with a stylist friend of mine. I wanted to do some work for my portfolio that was dark and moody, so we did this still life… She brought along a hexagon-shaped panel of Perspex that we hung on some fishing line, and I had my diffuse light bouncing off a board onto the set. And as the Perspex spun around, we were getting different reactions out of the panel. It looked really beautiful – and I immediately saw that there was something there. And that’s where the idea originated.”

Now, balancing being a mom to a toddler with her own studio in Kommetjie, Leah has fully committed to this pivot into art photography. In her own words, here’s how she does it.

Her proccess

“Sometimes it starts with the materials. I’ll go to Maizey Plastics in Paarden Eiland – one of the biggest importers of plastics – and I’ll choose colours from their colour wheel, come home, and work backwards from there. ‘So, I’ve got an amazing piece of green neon; let’s see what I can do with that.’ Or I’ll come up with an idea, then source the Perspex colour. It really depends on where the idea comes from.

“I can also never plan exactly what a piece is going to look like. Light is not precise. You can never re-create the exact same moment twice, with the angle of the light, the shadow, how your lens picks it up… It all comes together in one instant that will never be the same again. I’ll have an idea of how the light is going to work, but it always surprises me on the day. I’ll take a number of images of the setup – but once I have the shot, I just know it.”

Her intention

“I’m being mentored by a few artists in Kommetjie, including Gill Alderman. She always says, ‘Leah, what is your intention? Because that’s what differentiates a fine artist from just anyone who makes art.’ You need to be clear with your intention. And my intention is to draw on inspiration that feels real to me. So with my Art Deco-inspired work, I think back to my childhood – to my mother, who collected Art Deco furniture; and my grandfather, who had an elaborate home. When I daydream about my childhood, for example, it’s the shape in my grandfather’s rugs that comes to mind, and they become a little more defined. And what will differentiate me from other artists is the fact that there’s a style there – it’ll make you think, ‘That’s definitely a Leah Rolando’.”

New directions

“I’ll have a new body of work for the Solo Studios exhibition in Riebeek Kasteel from 24 to 26 October. The basic concept is breeze blocks from the 1920s and ’30s, so I’m working with shapes that are a bit more retro. As I said, I’ve always loved Art Deco – my home has lots of Art Deco furniture in it – and these shapes come to me when I’m daydreaming.

“These are obviously more rounded shapes than what I’ve done before. I’ve touched on round shapes previously, but they never really took off , so I never fully committed – and now I’m going back to them. I know my gallery prefers angular work – bold, clean, simple shapes sell well (and are easier to make!) – but I think the rounder ones are more sophisticated. As an artist, you constantly seem to be pulled in two directions – make what sells, or follow new paths. I’m staying true to my intention.”

Below is Leah’s Instagram handle. Make a note of it. It’s not oft en we come across work that’s this new and fresh – and with several exhibitions coming up, this emerging South African talent is going to become increasingly collectible. Currently, the prices for her work range from R3 800 (for small, unframed pieces), up to R18 000 for a 1m x 0.9m piece. We reckon that’s a bargain. | @
leahrolando_art

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Nando’s Creative Exchange (NCX) aims to recognise emerging South African fine artists who demonstrate exceptional ability and help them take the next steps in their careers. We spoke with Mpho Machate, one of the chosen local artists for the programme.

How did you get involved in art?

I always enjoyed making things with my hands, making clay cars and toys when playing. This further grew into a passion and I decided to hone that talent by studying art at Tshwane University of Technology and graduated in 2016 with a Bachelor of Technology in Fine Art. Soon after graduating, I started participating in art fairs and programmes such as Turbine Art Fair as well as JP Morgan Abadali Art Development Programme and now, the Nando’s Creative Exchange Programme amongst others.

How would you describe your work?

My work is abstract and so I describe it as a thought stimulator; I like to think that it requires one to question themselves about what they’re looking at thus forming their own perception while interpreting the artwork.

Can you tell us a bit about your style and artistic process?

I create abstract paintings. I like to think of my style as a composition of colour, texture and geometric patterns or forms. Jazz music plays a huge role in getting me focused on the work I am doing. It helps me to relax and get me in the zone, as I choose the type of artwork, medium as well as colour and other materials that I can use to create my art works.

Do you have a preferred medium that you like to work in?

Not really, I like colour and texture so any medium that falls on these works for me.

Any local artist that you admire?

Yes! Mohau Modisakeng. I like the way he uses light, shade and tone in his photography.

What does being part of Nando’s Creative Exchange Programme mean to you?

It is a very humbling experience to be selected for the programme because it has made me realize that there is an audience for my paintings and my work being selected for the Nando’s UK Menu Cover is proof of this. This opportunity has created room for growth and exposure as well as allowed me to meet with other talented artists that I get to learn from.

How do you feel about mentorship and learning through an experienced industry professional?

I liked the experience of having a different input and a professional critic of my work, it has influenced new ideas and that is good for concept development. This has also gotten me to have a different perception and put myself in the shoes of my audience, as I constantly received constructive criticism.

Where have you been looking for inspiration for your pieces?

I like to observe textured surfaces, more especially natural occurrences, sometimes cracked walls and floors. There seems to be a story in the slow process of change and I find that fascinating.

Looking for more local art? Sign up to our weekly newsletter, here.

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Laurinda Belcher is a Parow-hailing, mostly self-taught artist whose work marries her background in early childhood development, interest in psychology and folklore and her experiential dance between the child- and adult-self. We caught up with her to find out about her process and what we can expect from her next body of work.

Give us a one or two-sentence bio. Who are you as a multidisciplinary artist? As a person?

As an artist, painting is a tool that allows me the freedom and space to address, make sense
and process being human. As a person, I try to be aware of what I can contribute and how to
create ways or experiences to communicate and feel connection.

Your bio mentions the relationship between your child-self and adult-self as a source of inspiration. Could you share a specific memory of what that looks like and how you tell that story through your art?

I have a vivid memory of being about 9 years old, sitting in my great grandmother’s kitchen in Goodwood, drawing. And my uncle, who I revered because he pursued a career in the arts, made quite an impression on me. I listened to his voice recordings as a young child (he did the voice of Ramkat). He sat down with me, talked about drawing and gave me some tips on how to draw a face. In that moment, just feeling seen and acknowledged by a grown up gave me courage. As an adult, realising how important these relationships and moments are, they continue to influence and inspire me.

As I grow older, many of these memories pop up like little reminders. Through the work it shows up as free-flowing drawing and use of colour (honouring the child) and then adding more structure by eliminating parts and keeping others (the bit of structure and support the adult can provide). It’s a balance.

Where else do you find inspiration?

Books, music and nature. A kind word at the right time. Stories, especially those of people who lived before my time. I observe a lot and my mind wanders. It could be a certain kind of green or the way the light falls and creates a shadow that reminds me of a story and then my brain just starts linking things.

What has your relationship to mediums been over time?

It started with pencils as a child; I never touched paint (too intimidating). Only years later, when working in the classroom, did paint and I become better acquainted. I started with acrylics, but over the last few years I have discovered water-mixable oil and have been working in oil ever since.

Tell us about a time that changed your life as an artist/creator.

Quitting my corporate job and moving to Hanoi, Vietnam and working in the early childhood environment. Living there for almost 3 years was the catalyst for so much change in the trajectory of my life. It was my first time travelling and living outside of the familiar. It was during that time I started painting.

Describe your ideal escape. What are the sights, sounds and textures.

Somewhere in nature. Or just at home on a rainy day; gentle patterings, warm blanket, soft light and a cat on my lap.

Describe the interior of the space in which you feel most creative.

My studio, it feels safe. I can stay as long as I want. There is a window with some greenery (from my neighbour’s house), I can close the door, put on some music. It’s a room filled with books and ideas and oftentimes my little cat comes to watch and takes a nap on my chair.

Tell us about your latest body of work. What does it mean to you? What do you hope it will invoke in viewers?

Bruce D. Perry is a psychiatrist that does such important work in the field of neuroscience and early childhood development. He talks about the capacity to love oneself and how it cannot be built in isolation, that we learn to love through being loved. And if we don’t know what it feels like to be loved it’s hard to extend that love inwards.

His work speaks to ways of seeing and investigating the meaning of certain objects (jewellery, pets and places) as ‘transitional’ in our lives. As homes that invoke feelings of safety, comfort and the familiar.

I hope the work inspires feelings of exploration, connection and kindness towards ourselves and others, looking at our behaviours in a way as to identify and remedy needs that are perhaps not being met.

What’s next for you?

I’m excited to be showing some larger oil paintings with 99 Loop in Cape Town soon and the annual studio release of new works in April. In the meantime I’m hard at work painting and planning a solo exhibition next year.

What advice would you give a budding creative who is afraid of putting their work into the world?

It’s ok to doubt yourself, but it is the work of the creative person to share the work. Think about what possibilities await beyond that doubt or fear. Think of all the people who have gone before you. If they did not share their work, you would never have seen it. The risk to not share is much greater.

Where can we find your work?

My Instagram account @laurindabelcher. At the link in my bio, you can subscribe to my newsletter and receive updates on exhibitions and when new work becomes available. At the moment, I have selected works available to view and purchase at 99 Loop and with Untitled Art online.

Looking for more local art? Sign up to our weekly newsletter, here.

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A new guard of South African abstract artists has us captivated. From this impressive pack, we selected four standout creatives whose dynamic and thoughtful work will, no doubt, excite you too.

THULI LUBISI

This talented printmaker’s graphic works are a celebration of both her cultural background and her craft.

Why abstract art?

While I was a student at Artist Proof Studio, most students and graduates did realistic artworks. When I got to third year, I told myself that I wanted to move away from the traditional way of printmaking, which led me to explore and combine different techniques and elements when printing, resulting in abstract works.

Career highlights?

Having my artworks commissioned for various projects, most notably the recently completed Leonardo building in Sandton, and exhibiting at art fairs while I was still a student.

Creative people who inspire you?

Designer Laduma Ngxokolo and artist Esther Mahlangu. Although each focuses on his or her own tribe, I love the aesthetics found in their creations, how they tell their stories, and their way of showcasing what South Africa and Africa have to offer to the world through art.

Follow lubisithuli on Instagram.

SANDILE RADEBE

This Joburger is a graffiti and traditional artist whose paintings and sculptures are a bold exploration of culture, and the way our world is signified through symbols, rituals and other practices.

Why art?

I’ve been drawing ever since I can remember. My involvement in art became more serious when, one day, as I was doodling in a linguistics lecture, a friend said they would love my sketches at art school. I didn’t believe her. We took a bet. I applied and got accepted. Lost the bet! The rest is history.

Is Zulu culture an influence on your work?

Yes. It’s a slight shift from urban culture to urbanised Zulu culture. It was a natural progression in exploring elements that constitute my identity. I translate Zulu iconography onto maquettes for public sculpture, drawing from amabheqe, izinkamba and neziqhaza, and expanding the purpose of the beadwork, beer vessels and earplugs to reframe them as art. Through this process, I draw attention to different knowledge systems and their relevance.

And graffiti?

Graffiti is one of the lenses I use to read the world. It definitely influences my choice of spray paint as a medium, and preference for working in public spaces and collaborating with others.

Follow sandile_radebe_art on Instagram.

KARLA NIXON

This Durban artist’s work is diverse and nuanced – but all made of paper. Her abstract Colour Feels works are especially mesmerising.

Why paper?

It has been a long and sometimes arduous love affair, but one I can’t shake. Paper is common, unpretentious and banal as an object. It’s like no other material; it can be both 3D and 2D. It can be manipulated, folded, creased, torn, cut, painted on. It’s both fragile and robust. Its ability to transform is magical and whimsical, and surprises me every day.

And abstract art?

In my mind, my work walks this fine line of abstraction and figuration. It sometimes makes reference to textiles and carpets in concept, so its form is important – but beyond that, the textures and colours are often abstract in nature. I like how abstract art requires an unadulterated emotive response by capturing the essence of “things” that figuration can often distract from or miss.

Artists who inspire you?

At the moment, El Anatsui, Yayoi Kusama and Trish Andersen are firm favourites.

Follow karla_nixon on Instagram or visit her website karlanixon.com.

ABDUS SALAAM

This Cape Town poet and artist creates work and meaning across many mediums. He’s particularly known for his abstract “photographic light paintings”, which are made entirely in the dark.

Why abstract art?

It allows for the expression of both inner and outer realities in subtle and profound ways. Abstraction allows me to draw connections with the familiar, like nature, and then invite to a reality that transcends the material.

How do your worlds of poetry and art intersect?

For me, each work, each medium, every minuscule detail within an exhibition or body of work is as a line in a poem that is the central heart of a collection of works. No word out of place, no detail too small or too great. Much like poetry, my exhibitions begin with an empty gallery, a white canvas. I spend time in/with the space I am given, keeping in mind the poems and movements currently flowing in my life. Then, like the words of a poem being written, I see the space as though gradually all of the works have been made and everything has been placed.

What inspires you?

Everything, always. My motivation is to contribute to the beauty and peace of existence through art and poetry, and to invite to the highest values and forms of beauty in our world, both seen and unseen.

Cape Town’s THK gallery (thkgallery.com) is hosting an online exhibition of Abdus’s work, “Falls Of Abundance”, from 9 June, and another show, “Soft As Stone”, in January 2022. It will also exhibit his work at a number of international art fairs later this year.

Follow abdussalaamart on Instagram or visit his website abdussalaam.art.

Looking for more on local art? Take a look at all the local virtual exhibitions, here.

The post South African Abstract Art appeared first on Visi.

Cape Town-based artist Kristi Marié Pretorius creates soothing watercolour works depicting the ocean, forests and light, and the marriage between water, pigment and parchment.

As a child, Kristi watched her father paint dreamy landscapes, trying her best to copy him. At school she went against the pencil-heavy grain of her classmates and further explored watercolour as her chosen medium. When she moved from Port Elizabeth to Cape Town, the eight-to-five office life as a graphic designer consumed her, leading her back to where she began, paintbrush in hand.

https://www.instagram.com/p/BzFgtPenujK/?utm_source=ig_web_copy_link

She started a small art business doing illustrations for nurseries, before moving on to selling paintings of wildlife, nudes and botanicals at the Old Biscuit Mill. After developing tendinitis in her hand from spending hours on intricate details in her wildlife paintings, she started creating more fluid, abstract works.

Kristi’s varying styles form narratives for her daily life. When she feels out of control, she finds solace in controlled, detailed works. When she’s care-free, she paints loosely across the canvas, documenting the abstract simplicity of a life lived in the present moment. Expect to see her prints on textiles, wallpaper, and even yoga mats, soon.

Love Kristi’s watercolours? You can purchase them via her online shop or find her at the Old Biscuit Mill in Cape Town every Saturday from 9am – 3pm.

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Based in New York City, artist and photographer Kim Keever’s original take on “painting” sees him squeeze bottles filled with paint into a 758-litre fish tank, creating mesmerising results.

Using a mirror and a 100 megapixel camera, he captures his colourful cloud-like works of art before they mix and become a murky mess.

Water art has been Kim’s focus for 20 years – you can find his pieces in institutions like the Metropolitan Museum of Art and the Modern Museum of Art, both in New York City.

He has also published a monograph featuring his water tank prints, entitled Water Colors, a book which he raised funds to create in order to donate copies to high school students.

Below are 10 examples of Kim’s beautiful creations.

New work available @waterhousedodd For more information contact: newyorkoffice@waterhousedodd.com . . ‘Abstract 36298b’ 28×28”, 44×44” 2018 . . #kimkeever #photography #digitalphotography #recentwork #abstractart #underwater #beauty #art #photos #picture #pic #photograph #fotografia #camera #powerful #goodvibes #color #colorexplosion #underwaterphotography #modern #fineart #digital #watersubmersion #flow #movement #water #artgallery #energy #gallery #waterhouseanddodd

A post shared by Kim Keever (@kimkeever.art) on Jun 10, 2018 at 1:55pm PDT

‘Abstract 37775b’ 2018 . . . #kimkeever #photography #digitalphotography #recentwork #abstractart #underwater #beauty #art #photos #picture #pic #photograph #fotografia #camera #powerful #goodvibes #color #colorexplosion #underwaterphotography #modern #fineart #digital #watersubmersion #flow #movement #water #artgallery #energy #gallery

A post shared by Kim Keever (@kimkeever.art) on May 26, 2018 at 3:28pm PDT

‘Abstract 31916’ 28×37”, 44×59” 2017 . . . #photography #photos #picture#pic #photograph #fotografia #camera #powerful #goodmorning #goodvibes #instaphoto #color #colorexplosion #contemporaryart #modern #fineart #digital #underwaterphotography #watersubmersion #flow #movement #water #artgallery #energy #gallery #nycartgallery #curators#eastvillageart #kimkeever

A post shared by Kim Keever (@kimkeever.art) on Apr 22, 2018 at 3:10pm PDT

‘Abstract 37361b’ 28×30”, 50×55” 2018 . . . #photography #photos #picture#pic #photograph #fotografia #camera #instaphoto #color #colorexplosion #contemporaryart #contemporary #modern #fineart #digital #recentartwork #underwaterphotography #watersubmersion #flow #movement #water #artgallery #gallery #nycartgallery #curators#eastvillageart #kimkeever

A post shared by Kim Keever (@kimkeever.art) on Mar 30, 2018 at 8:58am PDT

Mesmerizing results ? Image available at @waterhousedodd , New York . ‘Abstract 14472’ 24X29”, 41X50” 2014 . . . #photos #picture #pic #photograph #fotografia #camera #instaphoto #color #purple #purplerain? #contemporaryart #contemporary #modern #fineart #digital #underwaterphotography #watersubmersion #flow #movement #instart #photooftheday #gallery #artgallerynyc #waterhouseanddodd #waterhouseanddoddgallery #curators #design

A post shared by Kim Keever (@kimkeever.art) on Mar 7, 2018 at 2:34pm PST

Delicate, soft and elegant shapes… . ‘Abstract 31716’ 28×33”, 50×60” 2017 . ? if you agree! #photo #photos #contemporaryphotography #pics #art #beautiful #abstractart #digital #photooftheday #composition #watersubmersion #underwaterphotography #movement #flow #art? #instaart #creative #instagood #artoftheday #visualdelight #masterpiece #recentworks

A post shared by Kim Keever (@kimkeever.art) on Jan 11, 2018 at 7:08pm PST

New work available @tilloufineart For more information contact : michelle@tilloufineart.com http://www.tilloufineart.com/artists/kim-keever . . ‘Abstract 30690b’ 28×36 “, edition of 5 36×47 “, edition of 5 2017 . . #tilloufineart #photography #digitalphotography #recentwork #abstractart #underwater #beauty #blue #art

A post shared by Kim Keever (@kimkeever.art) on Sep 18, 2017 at 6:04pm PDT

Pinksplosion . . . #photography #digitalphotography #contemporaryart #artist #pink #color #explosion #underwater #nyc

A post shared by Kim Keever (@kimkeever.art) on Jul 8, 2017 at 4:58pm PDT

New work available @waterhousedodd For more information contact: newyorkoffice@waterhousedodd.com . . ‘Abstract 37387c’ 28×31”, edition of 5 50×56”, edition of 5 2018 . . #photography #photos #picture#pic #photograph #fotografia #camera #powerful #goodvibes #color #colorexplosion #contemporaryart #modern #fineart #digital #underwaterphotography #watersubmersion #flow #movement #water #artgallery #energy #gallery #digital @kimkeever.art #waterhouseanddodd

A post shared by Kim Keever (@kimkeever.art) on May 22, 2018 at 7:41am PDT

Recent work. What do you think? ? . ‘Abstract 37193 2018 . . . #photography #photos #picture#pic #photograph #fotografia #camera #instaphoto #color #colorexplosion #contemporaryart #contemporary #modern #fineart #digital #underwaterphotography #watersubmersion #flow #movement #water #artgallery #gallery #nycartgallery #curators#eastvillageart #kimkeever #pink

A post shared by Kim Keever (@kimkeever.art) on Mar 25, 2018 at 4:02pm PDT

(h/t) wired.com

For more information, visit kimkeever.com.

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David Krut Projects has collaborated with a wide range of artists working in the realm of abstraction.

Abstract art uses a unique visual language of shape, form, colour and line to create a composition that exists independently from visual references. Since the early 1900s, abstract art is a central stream of modern art and has continued to expand with contemporary South African art, offering an exciting and explorative visual narrative.

Artists such as Stephen Hobbs, Mongezi Ncaphayi and Jacob van Schalkwyk have all brought elements of abstraction to their practice. Through collaborative work at the David Krut Workshop (DKW) and work within their studios these artists have taken advantage of abstraction to explore a range of concepts and methodologies.

Stephen Hobbs’s practice is informed by the visual language of cities, written language and the notion of camouflage. These ideas are translated through letterpress prints, etchings, monotypes, artist books and sculptures, as seen in his most recent 2017 showcase, No Fusion. His works display a strong level of abstraction, as seen in DSCF/1252/1, 2012. However, he also juxtaposes abstraction with recognisable forms, allowing for viewers to consider the constructs in their own environments – physically, architecturally and personally.

Stephen Hobbs – DSCF/1252/1

Stephen Hobbs – If You Look

Unlike Hobbs, Mongezi Ncaphayi’s works are purely abstract. Mongezi explores politics, power, gender, social atrocities, migration and urban spaces. These ideas are translated through abstract “mapping” compositions, which make use of lines, vivid colour fields and shapes, as seen in Wonder Vessels, 2015 and Joyful Voyage, 2017. Line has a strong presence in the artist’s work. He states: “Lines are simply the basis and fundamental aspects of drawing. Line is everywhere – in nature, geometry, absolutely everything. Different lines have different feelings, which I can use differently to portray different emotions.”

Mongezi Ncaphayi – Wonder Vessels

Mongezi Ncaphayi – Joyful Voyage

Jacob van Schalkwyk investigates different methodologies for mark-making and how forms come into being. He explains that “the species of art that interests me here is not working in figurative/known forms. I want to speak about abstract forms.” These ideas are embodied in the works showcased at his recent solo project and print launch, DOLCEFARNIENTE, which includes gestural drawings from his Klaar Gepraat, 2017 series and prints created at the David Krut Workshop.

Jacob van Schalkwyk – Klaar Gepraat 1_14

Jacob van Schalkwyk – Waltz

All three artists will be exhibited at this year’s 2017 FNB JoburgArtFair.

This article is adapted from an article on the David Krut Projects website, exclusively for VISI.co.za.

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Architect Federico Babina’s PORTRART project tells the story of the personalities of 35 artists. The short stories delivered here were made using the shaped, painted and sculpted features of each creative.

“Each composition portrays a realistic fantasy in a series of geometric shapes around a central matrix, the portrait,” explains Federico.

Using a simplistic approach, Federico’s PORTRART encapsulates the recognisable facial features of each artist.

“The project attempts to visualise the likeness, personality, and capture the essential features of the protagonist through simple lines, geometries, colour and ink,” says Babina. “The idea is to achieve an almost abstract representation without losing the essence of figurative representation.”

His work consistently makes use of abstract expressions in a minimalist form in order to tell a story. PORTRART similarly reflects Federico’s ARCHIATRIC series, where he explored the connection between creative genius and psychopathology.

Watch the PORTRART project come to life in the clip below.

(h/t) archdaily.com

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The street-side Picasso, Nelio, blends fine art, graffiti, abstract art, cubism and graphic design to bring his unique and textured ideas to life.

Nelio uses discarded pieces of wood and spray paint to build his clean-cut geometric shapes, symbols, letters and facial features, using a range of colours that vary between neatly monochromatic and vibrant polychromatic palettes. His work is uniquely textured and inspired not only by the freedom of graffiti, but also by the more refined disciplines of art history, architecture and graphic design.

Over the last 14 years, Nelio has garnered a large following and has exhibited his work across the globe. When he is not busy with a project – be it spray painting a concrete wall or preparing for an exhibition – he works from his hometown studio in Lyon, France.

Nelio also cites ancient Egyptians symbols, the Mayans and the influence of movements that include Suprematism, Dadaism, Surrealism, De Stijl and Bauhaus as inspirations. Through the combination of his varied influences, he pursues a style that expresses both the old and the new.

To view more of Nelio’s work, catch him on Instagram.

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This unique series of abstract clocks called Graphic Time by RAW Color may not help you stay on time, but they do make for an interesting and wonderful kinetic creation.

The Eindhoven-based design studio is headed by Daniera ter Haar and Christoph Brach and their focus is on the sophisticated treatment of colours and materials through the combination of graphic design and photography in order to make ordinary things extraordinary.

These graphic interpretations of common time pieces were initially developed for a solo exhibition entitled Blend, held at The Aram Gallery in London. Their ever-changing compositions made from a combination of paper and lacquered stainless steel make them more art pieces than time-tellers and they come in various perforations, prints and colours.

Visit RAW Color’s website to see more of their work.

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