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Alexa Meade

15 Jan

There’s hope. Alexa Meade is 25 and has never been to art school. Many artists use people as models but Alexa uses them as canvas. She plays with acrylic paint and broad brushstrokes to create a living, breathing oil painting. In a two-dimensional photograph they really do look lifeless and incorporeal but as one of her works of art saunters through the aisle of a subway train you have to concede…you have been deceived. Like The Picture of Dorian Gray, Meade’s bodies are works of art that age and interact and question your perception. She claims that what we experience should not always be interpreted at face value, seeing is not always believing.

For more visit:


Phil Hansen – Seize the Limitations

27 Dec

Phil Hansen is an artist who has permanent nerve damage in his right arm. He dropped out of art school because he couldn’t draw a straight line. He still can’t draw a straight line but he uses this inability to create art on a grander scale. He started drawing scribble pictures. Then he worked on a larger scale with different materials. He started looking for limitations and found that this approach to art opens up a great potential for creativity. Through asking ‘what if I can only paint with karate chops?’ he created a large black and white mural of Bruce Lee. He’s created the Mona Lisa using burger grease. During a one year experimental art series called Goodbye Art, Phil Hansen worked with the theme of destruction. By creating art and destroying art in the same moment, he shows that art doesn’t need to be serious, tangible or permanent. He builds an image of Jimmy Hendrix from matches and then lights it moments after. It is forever lost. The Goodbye Art series demonstrates that art can destroy itself. His drawings on banana skins are gone, forever blackened by rot.


You can watch a review of his project ‘Goodbye Art’ here:


21 Dec

Adam Pesapane, shortened to PES, is an animator who creates psychedelic candy-coated worlds from everyday objects and flea market throwaways. Apart from being beautifully bizarre, PES’s short animations use materials in a way which makes you question what you had for breakfast. PES creates boiling water out of bubble wrap, tomato sauce out of red velvet and cooking oil out of kitchen foil. Some of the links between the objects seem straightforward but others require some resourcefulness. Matches are used as missiles in KaBoom because of the potential to ignite. Similarly, popcorn serves as anti-aircraft explosions because it pops. Peanuts play the part of bombs although peanut butter is commonly dropped with other bundles as humanitarian aid. Fresh Guacamole (short listed for an Oscar) slices and dices billiard balls, baseballs and grenades, all motifs of popular culture. Poker chips are broken and Monopoly houses are ground into a green paste. The dismantling of these items, the shredding of dollars and the splitting of a Rubik’s Cube, allude to the throwaway nature of our consumerist society. In Game Over, a piece of candy corn serves as a rocket thrust to a 3000 year old shark tooth. PES juxtaposes a timeless organic object with a meaningless mass produced one. PES enlivens inanimate objects and, by taking them out of context, gives them a new identity. The length of his pieces could be a reference to our culture of instant gratification although it is also a necessity. Roof sex, an animation where two chairs get lively on a rooftop, is one minute long but the stock animation took 20 days to film.

PES is currently working on a film based on the Garbage Pail kids franchise.

For more of PES’s one minute animations, visit: