Lost AT E Minor

Sam Weber

There’s some awesome new work up on New York-based illustrator, Sam Weber’s website, including this one above which is did for the Soulpepper Theatre. We asked him a little while back about what his studio workspace was like: ‘I am fairly particular about where I like to work, and what sort of stuff I like to have around me. There are things that I look at often — a book of Max Ernst collages, one on Yoshitaka Amano, and a big stack of clippings from magazines and the Internet that I will periodically leaf through to get inspired’. Read more

Marton Schoeller’s Portraits of Female Bodybuilders

Marton Schoeller’s new book of portraits aims to highlight the contrast between the extreme physiques of female bodybuilders and the vulnerability expressed through their eyes and nuanced facial expressions. Read more

Brandt Peters

Trapped in a time warp between then and now, the work of Brandt Peters combines an old school aesthetic with a modernity bordering on futuristic fantasy, with a touch of morbid fascination thrown in for good measure. In other words, he creates wonderful imagery combining cartoon-like pin-ups with sometimes freakish attributes (large skulled beings, for instance), and every now and then seems to throw in a nod to sci-fi — such as a mechanical glass jar — for good measure. Muted tones replace the bawdy colours often associated with such mediums, giving his pieces a whimsical, dream like quality. He must live in a delightfully wispy world.

Ken Taylor

Australian illustrator Ken Taylor has created imagery for some of rock n’ ’roll’s great purveyors of sound, from the Rolling Stones and Queens of the Stone Age, to Nine Inch Nails and the Mars Volta. He has an easily recognizable style that screams sharp edge cool. Bold and bawdy, Taylor’s pieces use vivid colour to create a cut-out-comic-like feel reminiscent of old movie posters from the 1930s and 40s.

Kelly Smith

Beautiful, delicate, fragile, a little bit collage, a little bit sketchfull. This is the work of Kelly Smith. Combining several mediums in a collaborative expose between pencil, paint and print to create timeless works of elegant splendour, it is easy to compare Smith’s works to the last snowflake of winter, fleeting but real, avoiding the brash bright mercantile world for the prettier climes of illustrative pleasure. Smith has a twelve-day exhibition on at the 696 Space in Brunswick, Melbourne, opening November 14.

Brandt Peters

Trapped in a time warp between then and now, the work of Brandt Peters combines an old school aesthetic with a modernity bordering on futuristic fantasy, with a touch of morbid fascination thrown in for good measure. In other words, he creates wonderful imagery combining cartoon-like pin-ups with sometimes freakish attributes (large skulled beings, for instance), and every now and then seems to throw in a nod to sci-fi — such as a mechanical glass jar — for good measure. Muted tones replace the bawdy colours often associated with such mediums, giving his pieces a whimsical, dream like quality. He must live in a delightfully wispy world.