Carrie Mae Smith must like food a lot because it’s a recurring theme in her work. A lot her recent works are very woody, of-the-home items but—previously—had included lumber bread and Cheetos sculptures, drawings of utensils, and collages that mash the female body with food. Her paintings best epitomize her interests in food, specifically in prep and dinner service. They study form and let her flex her painting talents by sharing still lives and points of view for diners.
There is apparently a documentary coming out called I Dream Of Wires about the rise of the modular synthesizer, a musical tool that has helped in the popularization and accessibility of electronic music. The film explains and shares tales from successful musicians like Trent Reznor to Carl Craig in the hopes of explaining the relationship this item had in forming an entire musical movement. The project comes from a special place as it was written and directed by Robert Fantinatto along with co-writer and producer Jason Amm.
Amm’s involvement is quite significant as he is a respected musician working under the name Solvent. Naturally, his involvement has brought out some new music by way of him soundtracking the project. The first taste of the film’s sound is his song “Burn The Tables,” a six minute crisp, crunchy computerized jam.
Riitta Päiväläinen is a Finnish artist based in Helsinki, a place that I imagine to be very cold. I don’t know what I would have to wear to be warm there but I imagine it would be a lot more than the shorts and sweater usually donned in Southern California: Finland is a long way climatically from where I am. Her makes this known very clearly as she studies clothing placed against stark, clear snowy backdrops. They are photographed and always appear frozen, stiff and caught in limbo between falling and flying: they are transitional. The objects in the image represent former wearers and the way she presents them emphasize said lost pasts. Who knew freezing clothes could mean so much?
By way of the NSFW American Apparel Tumblr, I found myself reading an article on My Modern Met staring at notebooks whose lines had apparently gotten drunk and started zig zagging off of the page. It was like a classic Composition Notebook had decided that it all of a sudden hated its job and set out to do its own thing, relinquishing order for a welcome bit of chaos.
The item in question is The Inspiration Pad and it is what was explained: it’s a notebook that is all sorts of kooky and decidedly all over the place. It’s kind of like a joke book without any jokes being told. It is a notebook that makes it’s users rethink how it is to be used: it forces you to get creative.
“Who hasn’t dreamt, at some point, of filling a pool full of jello and swimming in it?” the description for the game The Floor Is Jelly asks. While I’ve never had that thought, it does seem interesting: what if the world was made out of a more malleable or differently consistent material, something that was softer or bouncier or slippery or some other property? The Floor Is Jelly is a game that plays with this idea providing an entire mini-universe for you to jump around and explore as you solve various puzzles.
PANES are a fairly new London based band that there isn’t much known about yet. But! They must be pretty good if they’ve been able to tap fellow Brit and PAN label dude Lee Gamble for a remix. Gamble is of the current crop of electronic experimenters who are doing fantastic things with sound that bend in both the very abstract and rhythmic directions. 2013’s Dutch Tvashar Plumes is an excellent example of this. His work with PANES sees their otherwise Bass-y, trippy London pop sound scaled back to its bare ghostly center. That means in a very Gamble way removing the original’s vocals, all dynamism, and leaving the song as a minimized hum.
Juliana Futter is a London based illustrator whose work is a bit difficult to describe. The style is understandable as they are colorful and often rippling images you may see in yourself, in your home, or in history. The subjects are a bit difficult to articulate as she doesn’t necessarily work on “just one thing.” She isn’t obsessed with a small animal or certain type of food but instead mashes together the the body with life, specifically from Classic eras.
Sharon Louden is a well respected and very talented artist who does a bit of everything. She’s taught at several universities over the past twenty years and has shown all over the world. Most recently, she’s edited a book of essays about artists making and living called Living and Sustaining A Creative Life. Through forty essays from forty different artists, you get a look at how creatives work and how they are able to propel themselves forward within often amorphous creative fields. It’s a very real, very honest peek into the world of artists.
This relationship to other artists and their practices has also found its way into her work. While she has been busy book touring and getting the project off the ground, she also created a body of work called Community. The works are made from oil and enamel and feature strings of color in very patient settings that easily could be left at being studies of shape. They aren’t, though: they are symbols of all the work she has been doing, explained visually.