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darksilenceinsuburbia
darksilenceinsuburbia

The Holding Hands

1. Marie-Anne Martinozzi (née Mancini), Duchess of Bouillon (detail) by Benedetto Gennar  2. Portrait of Lady Frances Courtenay (detail) Thomas Hudson  3. Ophelia (detail) by Thomas Francis Dicksee  4. The Suicide of Lucretia (detail) Meester met de Papegaai  5. Portrait of a Woman with a Fan (detail) by Frans Hals  6. Absorbée dans ses pensées (detail) by Friedrich von Amerling  7. Mrs. Daniel Sargent (Mary Turner) (detail) by John Singleton Copley  8. Girl with a Poppy (detail) by Emile Vernon

darksilenceinsuburbia
darksilenceinsuburbia

Kendyll Hillegas // Draw My Food

Works created as a part of the Draw My Food project. Followers on Tumblr and Instagram submit photos of their favorite foods which I then reference in creating an illustration. This project highlights one of my favorite aspects of food as a subject - it’s universality and diversity across cultures.  (artist statement)

@tumblr

darksilenceinsuburbia
darksilenceinsuburbia

Jasper De Beijer //Marabunta, 2012

Jasper de Beijer was born in Amsterdam, the Netherlands, in 1973. In 1992, De Beijer enrolled at the Amsterdam School of the Arts, from which he graduated in 1996. He went on to attend the final year of the Autonomous Design program of the Utrecht School of the Arts, where he graduated in 1997. During his time at the academy, De Beijer was a fanatic freehand sketcher, and this was also when the artist first started using scale models and carefully assembled tableaux as material for drawings and paintings. De Beijer’s fulllength photo series Buitenpost marked the first time he used models and staged scenes as a starting point for manipulated photographic images. He has since completed a total of eleven projects, all of which he built from the ground up in his Amsterdam studio.

With Marabunta, De Beijer takes the paraphernalia of the Mexican drug war as his inspiration, particularly the mystical and visually obsessive interest in celebrating the flamboyant lives of its leaders and colorful deaths of its victims. De Beijer carves a world in Marabunta that is alarming, chaotic, and reverential - an unnerving amalgam of the omnipresent iconographies of death.