Portraits made by injecting bubble-wrap with paint

Low Lai Chow Contributor

By Low Lai Chow in New Art on Monday 18 March 2013

Bradley Hart, who currently has a solo exhibition running over at Gallery Nine5, basically takes bubble wrap and patiently injects every individual bubble with acrylic paint to create photorealistic portraits. They are amazing.

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Ollie Ink: fashion skulls on large canvases

Ollie Searle Reader Find

By Ollie Searle in New Art on Saturday 26 January 2013

I love fashion illustration and see it as an art form in its own right. If I was to put a label on it, it would be Fashion Art. My latest work blends fashion and skulls on large canvases using grey, white and black acrylic paint.

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Wonderfully disturbing street art by Daan Botlek

Low Lai Chow Contributor

By Low Lai Chow in New Art on Thursday 10 January 2013

It’s just acrylic paint, but boy, does Rotterdam-based artist Daan Botlek make some very unsettling work from it. His works are heavily driven by contorted bodies, stripped skin and exposed flesh rearranged to form new meaning, and they have this visceral undertone that’s sort of cool and disturbing at the same time.

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Poured out landscapes by Australian artist Kate Shaw

Mareike Muller Contributor

By Mareike Muller in New Art on Monday 12 November 2012

The techniques Australian artist Kate Shaw is using to create her wonderful works are pretty unique: first, she pours skins of acrylic paint and lets them form naturally; then she looks for landscapes within these abstract forms to cut and reassemble. The outcome are collages that remind you of natural landscapes, showing trees, mountains and lakes, but still giving you a surreal sensation. ‘This is not from this world’.

UPDATE: Here’s a neat teaser from an interview we did with the talented artist. Check out the full interview to find out Kate Shaw’s creative process and favorite places in Australia!

Are there any specific influences that made you realize you wanted to focus on nature and landscapes as your subjects? 
A visit to Central Australia in 2004 really helped me coalesce ideas about the materiality of paint and how this could connect with the material world through landscape. The sedimentary layers of rocks literally looked like the paint I was playing around with in my studio, and it started from there.

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