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Our friends over at Deluxe Distribution<\/a>, the parent company of Spitfire, REAL, Anti-Hero, Krooked, Venture, and Thunder, is looking for a freelance artist. In their words, they're looking for a \"swiss-army-knife-can-do-absolutely-everything kind of Freelance Artist.\" If you think you've got what it takes, email your portfolio link to Jobs@dlxsf.com<\/a><\/a><\/p>\r\n

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The artist provided this illuminating description of the show, including its origins and some of its goals: \"The concept for this show was born when my grandmother asked me to make a mold of her toes. This led to a specific conversation about the physical attributes we personally remain insecure about. However, this quickly expanded beyond the personal, into the nature of the human condition as a meditation on the self. Our universal detachment with our bodies leads us through a lifetime of serious divides, between fantasy and reality for what our bodies should and could be. I do not believe the body defines who we are. It\u2019s not really the essence of 'us,' but functions more like a garment than a persona. The bodies in the show are direct molds from actual people. They have been recreated with extreme detail. Each suit carries its own weight, intended to communicate a burden or lack thereof for that particular body, such as the softness of youth, the stiffness of scar tissue, or the fragility of aging skin. I wanted Bodysuits<\/em> to be an experience of the burden or pleasure of somebody\u2019s physicality. The universal experience of insecurity is painful and often private, consolidated to a temporary solution and quick-fix mentality that ignores the impending difficulties of age and breaking down. Bodysuits<\/em> is a reminder of our impending mortality, allowing us to experience anothers being with curiosity and empathy, remembering our skins are not the self.\"<\/p>\r\n

The gallery will be open to visitors every day until March 25th, so if you're in LA and have some free time, go by and try one on.<\/p>\r\n

All photos shot by the artist<\/em><\/p>","video":null,"gallery":"{gallery}65558{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"Last weekend at Superchief Gallery in LA, Sarah Sitkin's Bodysuits were on... full display. The haunting, intriguing, but generally awe-inspiring work was presented throughout the gallery, bringing in hundreds of visitors to witness Sitkin's suits. The Bodysuits are modeled after real people, using unbelievable precision to present a hyperrealistic representation of human bodies, in an effort to intentionally subvert boundaries and privacy to provoke recognition in the shared human experience. 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The haunting, intriguing, but generally awe-inspiring work was presented throughout the gallery, bringing in hundreds of visitors to witness Sitkin's suits. The Bodysuits are modeled after real people, using unbelievable precision to present a hyperrealistic representation of human bodies, in an effort to intentionally subvert boundaries and privacy to provoke recognition in the shared human experience. Visitors are invited to wear the suits, and in doing so, emphasize, confront, and reevaluate the judgement they hold towards others' bodies and their own.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65547","title":"Designer Marc Rimmer on the Visual Art Behind Preoccupations' Forthcoming Album and More","alias":"designer-marc-rimmer-on-the-visual-art-behind-preoccupations-forthcoming-album-and-more","catid":"13","published":"1","introtext":"In January, The Calgary-based band Preoccupations (FKA Viet Cong,) announced that they're releasing a new album titled New Material, on March 23rd. They shared the lead single \"Espionage,\" along with<\/span><\/span>\n\r\nThe visual artwork for their last album, and the upcoming one, was designed by Marc Rimmer. A longtime friend of the band and a talented designer, Rimmer's cover design was able to match their peculi<\/span><\/span>","fulltext":"\r\n

Where are you from and when did you start making art? 
<\/strong>I\u2019m currently back in Calgary, Canada, where I grew up and went to university. I started making art casually back in highschool. I was really into taking my favorite lyrics and overlaying them on top of my bad photography. I wasn\u2019t really aware that design was a thing, or a viable profession, until my art teacher was like, \u201cHey, you should look into graphic design.\u201d That was definitely a game changer for me.<\/p>\r\n

When do you feel like you shifted to a focus in design? Is that where you feel like you're focused now?<\/strong>
I initially went to school to major in graphic design, but was completely captivated by photography in my first year, so I ended up focusing on that. Studying it and turning it into a job kind of took the magic and love out of it for me. By the time I graduated in 2008, I had already begun to pick up design jobs here and there, mainly working on music posters and album artwork. A few years after that, I was working on design projects full time and have been ever since. I love it, and it is very much where my heart is. I still often use photographic elements in my album artwork projects, so it has definitely influenced my approach to certain things.<\/p>\r\n

\"braids\"braids
Rimmer's cover design for Braids<\/a>' 2013 album Flourish \/\/ Perish<\/em><\/small><\/p>\r\n

When not making commercial and commissioned designs, what kind of work do you make? What are your pet projects? <\/strong>
The majority of my work is comprised of pretty classic identity & brand design, so album artwork is kind of a personal, pet project for me. I love music, so I make a point of working on projects like these when time allows for it, as it\u2019s a way of staying involved and keeping things exciting.<\/p>\r\n

What was one of your biggest learning experiences in making art?<\/strong>
I find album packaging to be unique in the sense that it is art, but also very much a commercial design project. I approach it with a similar mentality to something like a logo. I feel the cover image should communicate to the viewer quickly and stand on it\u2019s own. It shouldn\u2019t be too complex or require a certain knowledge to understand or appreciate it. Album covers appear as a single image when viewed on a digital platform, and when they're in a record store, they're still in a package, so you don\u2019t have the luxury of the extra inserts, booklets, coloured vinyl, etc, to back things up. All of those additions should sweeten the the experience of the record, and I love them, but they shouldn\u2019t be required or relied upon for the artwork to be successful. The art should also work just as well when scaled to 2\u201d on a screen, as it does when on a 12\u201d vinyl jacket.<\/p>\r\n

\"preoccs1\"
Final cover for Preoccupations' self-titled album
<\/span><\/p>\r\n

How did you meet the folks in Preoccupations? What's your history with the band?<\/strong>
I met the guys in Preoccupations through the local music scene back in highschool. Our bands used to play shows together, and we grew really close through that. They remain some of my closest friends to this day.<\/p>\r\n

Their last album, and their first release under the new name, had a unique and new feel to it. The album cover absolutely contributed to that. What was the inspiration behind that design? <\/strong>
The idea behind the album was one of discovery and exploration of basic visual elements: line, shape, colour, composition. It definitely has nod to periods such as the Bauhaus, De Stijl, constructivism, etc. Stripping things down and exploring questions like, \u201cWhat would these lines look like overlapping this blue shape?\u201d or \u201cWhat would this \u2018p\u2019 look like if it was cubic instead of round?\u201d The typography directly references and builds off of Herbert Bayer\u2019s Universal typeface sketches from the Bauhaus. Through the typeface and general feel of the artwork, I wanted it to look like a draft. An exploration of an idea, rather than a finished piece. Each letter in the typography has 3-4 different glyphs exploring the different possible forms.<\/p>\r\n

\"preoccs
<\/span>One of the concept designs for the 2016 self-titled album
<\/span><\/p>\r\n

When designing an album cover, what are some of the first things you think about? How do you translate the audio to the visual? <\/strong>
Album artwork can be tricky sometimes as the music itself is art, and the band\/songwriter is deeply attached and personally invested in it, often with a vision in their head of what the visuals should be. You\u2019re trying to align your creative vision with their musical one; making art to accompany art. Interestingly, what they initially envision in their head is almost never fully reflected in the final artwork, so it's a striking a balance of noting their ideas, really familiarizing yourself with the music, then honing in on certain elements, themes or moods to communicate an idea through a cover image. It\u2019s often capturing the essence of their envisioned idea, but communicated in a very different visual way.<\/p>\r\n

Is there an album you've listened to that, upon listening, you wish you could have made the cover for? <\/strong>
Ben Frost\u2019s AURORA<\/em><\/a>, although I think the final solution for that artwork was perfect.<\/p>","video":null,"gallery":"{gallery}65547{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"In January, The Calgary-based band Preoccupations (FKA Viet Cong,) announced that they're releasing a new album titled New Material, on March 23rd. They shared the lead single \\\"Espionage,\\\" along with cover art for the forthcoming album. The cover art got us curious about the visuals behind an intriguing band, one that weaves in dark lyrical themes over an industrial soundscape, building from and onto their post-punk roots. West Germany via Western Canada.\\r\\n\\r\\nThe visual artwork for their last album, and the upcoming one, was designed by Marc Rimmer. A longtime friend of the band and a talented designer, Rimmer's cover design was able to match their peculiar hybrid style. 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They shared the lead single \"Espionage,\" along with cover art for the forthcoming album. The cover art got us curious about the visuals behind an intriguing band, one that weaves in dark lyrical themes over an industrial soundscape, building from and onto their post-punk roots. West Germany via Western Canada.\r\n\r\nThe visual artwork for their last album, and the upcoming one, was designed by Marc Rimmer. A longtime friend of the band and a talented designer, Rimmer's cover design was able to match their peculiar hybrid style. The cover hosts an image that portrays a space that seems sterilized-clean, with precise geometric emptiness that evokes the same kind of eery post-industrial solitude found in the music. Making cover art that fits is often tried and often failed, so when it fits this well, there's something special beneath the surface. To find out, we decided to ask Rimmer some questions and got to hear about his background with design, music, and photography.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65489","title":"Work Hard & Be Nice To People: Anthony Burrill @ Jealous East, London","alias":"work-hard-be-nice-to-people-anthony-burrill-jealous-east-london","catid":"13","published":"1","introtext":"UK-based graphic designer\/artist, Anthony Burrill (a personal favorite of the Juxtapoz staff) has been making word-based prints for years and has made now some of the most iconic prints you have prob<\/span><\/span>","fulltext":"\r\n

His new solo show, Work Hard & Be Nice To People<\/em>, features two new editions between the gallery and the artist. As Burrill<\/a> notes, \"These large scale screen prints take the typographic simplicity of my letterpress work to a new and exciting place. The increase in size restates the message of my work not only in scale but also in intent. The two phrases I\u2019ve picked for the editions are my personal mission statement, I think we should all be more inquisitive and much nicer to each other. My ambition for these pieces is that they will speak to as many people as possible, they are intended as positive propaganda to promote a happier way of living.\"

Click here to read our interview with Burrill from 2014. <\/em><\/a><\/p>","video":null,"gallery":"{gallery}65489{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"UK-based graphic designer\\\/artist, Anthony Burrill (a personal favorite of the Juxtapoz staff) has been making word-based prints for years and has made now some of the most iconic prints you have probably seen over the last decade or so. \\\"I Like It. What Is It?\\\" remains one of our favorites. 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designer\/artist, Anthony Burrill (a personal favorite of the Juxtapoz staff) has been making word-based prints for years and has made now some of the most iconic prints you have probably seen over the last decade or so. \"I Like It. 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Nora Fok<\/a> works in her home studio creating all of her pieces manually, using hand tools, fine nylon microfilament and basic processes like weaving, knitting, braiding, and knotting. The work above is comprised of 3,500 knit spheres, and finished pieces can take weeks to produce. Fok is based in southeast England.<\/p>\r\n

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and math-inspired wearable artworks.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65354","title":"Interview: Natsai Chieza Explains Her Process of Using Colored Microbial Compounds for Beautiful Textile Designs","alias":"natsai-chieza-explains-her-process-of-using-colored-microbial-compounds-for-beautiful-textile-designs","catid":"13","published":"1","introtext":"Natsai Chieza's recent project fits somewhat outside the normal wheelhouse of Juxtapoz art content. However, Chieza's work using a colored antibiotic compound as a pigment to dye textiles and clothin<\/span><\/span>","fulltext":"

Juxtapoz: Tell us a bit about yourself, where are you from? How did you start\/get interested in pigments and dyes?
<\/strong>Natsai Chieza: I was born and raised in Zimbabwe, then moved with my family to London when I was 17. When I was 11, I decided I was going to pursue a design career, so after 6th form I went to the University of Edinburgh to study Architectural Design. I was always interested in fashion and textiles, and incorporated fashion into my architectural thesis. This was a crucial moment for understanding the theoretical alignment between the two disciplines and how textiles are central to it. Upon completing my degree, I went to Central Saint Martins for an MA in Material Futures to explore materiality from a technology perspective. I realized that technology, design craft could be bridged by the systems thinking approach to design that I\u2019d been exposed to while studying architecture.<\/p>\r\n

\"2017\"2017<\/p>\r\n

Through my studies, technology was a precursor to much of my research, so when I dug into synthetic biology as a technology and the implications it would have on design, I was keen to learn about the possibilities beyond theory. I contacted Professor John Ward at the Department of Biochemical Engineering, University College London, and asked him to be a scientific advisor on my thesis. After graduating from Central Saint Martins, I became a designer in residence in the Ward Lab, where he showed me the possibilities of synthetic biology through a soil bacterium. Ward gave me time and space to determine how the colored antibiotic compound it synthesized could be used to dye textiles. We discovered it could do this with the kind of efficacy that rivaled traditional dye methods on water and chemical use \u2013 both synthetic and natural. At that point, I decided to focus on this microbe to re-contextualize it as a collaborator, a conceptual tool and material system for sustainable design.<\/p>\r\n

\"Natsai<\/p>\r\n

What types of art and design did you make before this current project?
<\/strong>Prior to this current project, I worked on a range of projects that called on different skillsets, from curatorial work for POSTtextiles<\/a> (a collective I was a part of) to a future-focused brief with Central Saint Martins, Nanoforce and Stanton & Williams Architects on how buildings could be designed to allow for retro-fitting in 50 years with nanotechnology enabled surfaces for climate control.

While I was developing this current body of work (over six years) I also worked on other projects, including material design R&D for researchers at Textile Futures Research Centre. I worked with researchers to program workshops, symposiums and exhibitions around their work, which brought together a range of stakeholders, including The Bartlett School of Architecture, Medical Research Council (MRC), Imperial College, Incrops and Foundation EDF. This all fed back into my teaching at Central Saint Martins and The Bartlett on brilliant programs making this transition into design-led biology and material systems thinking.<\/p>\r\n

\"2017<\/p>\r\n

How much of your work is focused on design and how much on biology? Do you have a background in science?
<\/strong>I don\u2019t have a background in science, but I\u2019ve always had a deep appreciation of ecology as a performative and cultural space. I strongly believe consumer biotechnology will be vastly different from the biotechnology industry for pharmaceuticals and agriculture. If a microbe creates a fiber, it will be essential to bring design thinking to the scientific process to make sense of how it lives and interacts with society and frameworks that are not always obvious from the laboratory.<\/p>\r\n

\"Natsai<\/p>\r\n

My work focuses on design and biology beyond the technical perspective, looking at how design can inform biology and vice versa, and collaboration is a central component. I refined protocols pertaining to the organism I work with to enable specific material outcomes, and have collaborated with scientists and engineers for their expertise along the way. Scaling these systems of biofabrication requires a complementary way of working to leverage diverse perspectives for problem solving. Engineers, designers, scientists and ethicists are part of the knowledge groupings that will work together to shape this field.<\/p>\r\n

\"2017<\/p>\r\n

Tell us a bit about the Forbes Pigment Collection, is this a huge milestone for you?
<\/strong>When I visited Narayan Khandekar at the Forbes Pigment Collection during my time in Boston while I was a designer in residence at organism company, Ginkgo Bioworks<\/a>, I recognized the extensive knowledge embodied in this stunning repository. For me it is an incredible index to understand human cultural evolution through color, science, anthropology, economics and literature; both our histories and futures are held in this colorful capsule. I love that researchers from any field of study can go here and find gold.<\/p>\r\n

\"Natsai<\/p>\r\n

I'll be donating a sample of pigment from the microbe I work with because it represents a part of the next wave of materials, processes, economies and cultural heritage that will emanate from biotechnology in the 4th industrial revolution. It\u2019s a definitive moment for curatorial spaces to consider new languages, intertwined historical contexts and even conservational methods that will emerge when our materials \u2013 how we fabricate them and live with and inside of them \u2013 are derived from and driven by biological systems. I\u2019m thrilled to be able to donate a small part of that with the hope that it seeds new research, ideas and critique from a wider context.<\/p>\r\n

Photos courtesy of Natsai Chieza and Gingko Bioworks<\/em>
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recent project fits somewhat outside the normal wheelhouse of Juxtapoz art content. However, Chieza's work using a colored antibiotic compound as a pigment to dye textiles and clothing shows not only immense talent as a designer, but also opens the door to exciting new opportunities in textile dyeing and design. Her work has been incredibly well received, even earning her microbe pigment a place in the Forbes Pigment Collection, a prestigious collection of paints and dyes in the Harvard Art Museums.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65285","title":"Feature: Hobbies and Horrors and Sarah Sitkin\u2019s Cabinet of Curiosities","alias":"feature-hobbies-and-horrors-and-sarah-sitkin-s-cabinet-of-curiosities","catid":"24","published":"1","introtext":"It almost feels like a crime to call Sarah Sitkin a \u201cdesigner.\u201d Her sculptural work combines so many elements of fine art, set and costume design, not to mention just plain old \u201cOh my God, how <\/span><\/span>","fulltext":"

Evan Pricco: I guess you would consider yourself a sculpturist, but it goes so much beyond that with elements of set design in your recent works. What, at this point in your career, do you call yourself?
<\/strong>Sarah Sitkin: I have always had a hard time describing my work in general terms. It does incorporate set design, also costuming and sculpture. I would just call myself an artist. I try not to limit my creative ideas to one field or title.<\/p>\r\n

It seems that, especially in Los Angeles, the role of the costume or set designer leads one to Hollywood, and in that, perhaps a lot of training and schooling to get there. Did you have formal training?
<\/strong>I never even got a high school diploma. I was a classic bad kid, in and out of different school programs until I was old enough to permanently ditch class forever. Everything I wanted to know, I could just search on the internet instantly, from anywhere in the world, for free. I tried taking some community college art courses, but didn\u2019t last more than a few weeks before I was over it. I worked all through my teens and early twenties at my family\u2019s hobby shop. Kit Kraft introduced me to everything. The shop was located in a magic place in time\u2014right in the heart of the Los Angeles special effects industry in the late 1990s and early \u201900s. The shop carried all kinds of specialty items to cater to the talented sculptors, painters, and model builders and the studios they worked for.
\"Sitkin96\"
\"Sitkin96\"<\/p>\r\n

I was making crude castings with dental alginate in my bedroom in my teens, and pouring polyester resin in the garage. My parents let me turn my room into a giant installation piece where I would staple fabrics to the ceiling, glue found objects to the walls, and weave wires and cords between the bars of my bed frame. My dad would bring me home the damaged merchandise from the shop and I would build costumes and sculptures with half-dried clay, broken model kits and exploded tubes of acrylic paint.<\/p>\r\n

I started getting portrait photography work around the time I was 23, and was able to get just enough commission work to support myself in a tiny apartment in downtown LA. From there, I was able to gradually move into a studio space where I would started constructing sets for my portrait photographs. I wanted to incorporate what I learned while working at the hobby shop (making molds, sculpting, model building, painting) into my photography, so I started taking molds of the portrait subjects and building those elements into the pictures. The work naturally evolved into sculpture from the heavy costuming and set building I was doing for my photographs.<\/p>\r\n

Did you consider that work to be more set design or fine art?
<\/strong>My lack of academic credentials and reluctance to follow the standard art world protocol has me feeling like an art-world outsider. I get so much love and support from the general public, however, that I feel my work has value and importance regardless of being accepted in elite circles.<\/p>\r\n

Do you think the lack of formal, classical art training has allowed you to be a little bit more free in what you do? It\u2019s like you learned from just being around the film industry.
<\/strong>While people were in school learning to make artwork that was tailored to integrate into the gallery system, I was making work to integrate into my own social media channels. Presenting my work was just as important as the work itself. Lighting, set design, and ephemeral elements all became part of the artwork in order to present it as a documentation of the physical objects I was making. But because of this platform, the documentation became more important than the physical pieces, which were discarded or cut up and turned into new objects to be documented. This approach has completely informed the artistic decisions I\u2019ve made. Both the potential and limitations of the social media outlets I was using were integral parts in the process.

\"Sitkin1\"<\/p>\r\n

I assume the Channel Zero project came up through social media? Was this your first time working for a formal TV production?
<\/strong>Nick Acosta, the showrunner for Channel Zero, approached me about being a creative auteur for his TV show. I had never worked on a show, but they promised freedom to create my own concepts, so I jumped for it and I absolutely loved working on it. I learned so much. I would love to work on another film project, and in fact, I would love to direct a film project someday.<\/p>\r\n

Was there a big change in the way you worked when it came to a TV production?
<\/strong>The biggest change was working with assistants and money. It was wonderful! I had people picking up my supplies, filing my receipts, organizing my materials for me and cleaning the shop every night. I still got to make the work myself, but my crew were the extra hands I wished I had all my life. The hardest part was surrendering control over how my work was lit and the angles it was shot from. Outside of working on Channel Zero, it\u2019s pretty much me working alone to make everything\u2014 from the molds, to the structural work, to the final hairs punched into a piece. I do it all myself.<\/p>\r\n

There is obviously this element of horror and the grotesque in your work, but there is also just the sheer skill of presenting almost hyperreal, alternative realities. How do you balance these two elements? 
<\/strong>Experience as a human being is horrifying to me, and that is reflected onto the things I make. Honestly, most of the time, I don\u2019t even realize something is creepy until people give me feedback. I usually think I\u2019m creating intense visual metaphors or transcribing my experience.<\/p>\r\n

So, I just gave you feedback? In that vein, what is the best thing someone has said about your work when they have walked into one of your gallery shows or commented on your social media feeds?
<\/strong>This girl who made a hand-knitted version of one of my masks brought it to my art show last year and gave it to me. She\u2019s a dentist by profession, and I have always wanted to be a dental technician. We stay in touch and send pictures to each other of surgical tools and interesting medical devices. I am just as fascinated with her work as she seems to be with mine. I\u2019m excited by how artwork tends to be a magnet drawing together people with similar interests. I love that my work has attracted all these people into my life and weaved us together with a common thread, even though often we do completely different things.

\"Sitkin
(sarah sitkin in her studio)<\/p>\r\n

Sarah as a 10-year-old: what was your favorite movie, TV show, and book?
<\/strong>Honestly my life didn\u2019t even start until I hit puberty. At 10, I was probably into whatever my parents wanted me to be into.<\/p>\r\n

Okay, Sarah Sitkin now: what are the things that are influencing you?
<\/strong>The natural world has my attention. I was really into technology, engineering and digital realities for most of my adult life, but in this past year, I have really been interested in what is tangible, and how it came to be that way. I love understanding how changing environments brought different biology and behaviors. I am also fascinated by human psychology, behavioral patterns and coping mechanisms. Learning is the biggest catalyst for creativity in my life. I love researching.<\/p>\r\n

What are you working on next?
<\/strong>I am working on a solo art show, Insecurity Blanket, which is focused on wearable pieces. I\u2019m making skin suits, prosthetics, and non-invasive body modification pieces. The context of the skin suits is the concept of the art carrying the \"burden\" of the bodies. For example, some, not all of the wearable pieces, will be made with the intention that they are interactive and show the participant what it feels like to be in that particular body, and the stresses of it.

This article was originally published in the print edition of Juxtapoz Winter 2018 Quarterly 
<\/em><\/a>
@sarahsitkin<\/strong><\/em><\/a>

<\/p>","video":null,"gallery":"{gallery}65285{\/gallery}","extra_fields":"[{\"id\":\"13\",\"value\":\"It almost feels like a crime to call Sarah Sitkin a \\u201cdesigner.\\u201d Her sculptural work combines so many elements of fine art, set and costume design, not to mention just plain old \\u201cOh my God, how did she do that?\\u201d art that doesn\\u2019t succumb to labels. From solo shows at Superchief Gallery in Los Angeles, where we first caught her work in person, to new sculptural works for the SyFy channel\\u2019s excellent series, Channel Zero, Sitkin is redefining that narrow margin between fine art design, traditional special effects and production design. 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succumb to labels. From solo shows at Superchief Gallery in Los Angeles, where we first caught her work in person, to new sculptural works for the SyFy channel\u2019s excellent series, Channel Zero, Sitkin is redefining that narrow margin between fine art design, traditional special effects and production design. A childhood growing up around her family\u2019s hobby store in the heart of the film industry has led Sarah to create her own cinematic vision, where explorations into silicone, clay, plaster, resin and latex have made her current body of work one of the most fascinating in Los Angeles today.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65168","title":"Format's Online Portfolio Platform, and 18 Artists Who Use It","alias":"format-s-online-artist-portfolio-platform-and-18-artists-who-use-it","catid":"13","published":"1","introtext":"Juxtapoz is partnering with Format to expo their platform for making online artist portfolios. They've included 18 artists' websites made using their program, to show the range of designs and tools t<\/span><\/span>","fulltext":"\r\n

Juxtapoz<\/em> is partnering with Format<\/a> to expo their platform for making online artist portfolios. They've included 18 artists' websites made using their program, to show the range of designs and tools that artists can use to create a website of their own. <\/p>\r\n

Format<\/a> makes it super simple to create your own online portfolio and share your creative work with the world, no coding knowledge needed. Need an online portfolio? Exclusively for Juxtapoz<\/em> readers, you can try Format for three months absolutely free. No credit card required. <\/span>Click here<\/a> to start building your portfolio, and scroll through some of our favorite portfolios full of surreal art.<\/p>\r\n

We\u2019ve selected 18 artists using Format for their portfolio to give you some inspiration when you\u2019re thinking about creating your website. These artists all have a surreal sensibility. Whether it\u2019s through street art, illustrations, or paintings, these artists all bring a fantasy feeling to their work, and that surrealist mood comes across perfectly in their websites.<\/p>\r\n

Winnie Truong
<\/a>Through drawings and paper cuts, Toronto-based artist Winnie Truong explores female embodiment, depicting fantastical characters engulfed in hair and sometimes leaves. Truong\u2019s work shines against a simple white background, with images taking up the whole screen of her website.<\/p>\r\n

\"Winnie<\/p>\r\n

Tine Isachsen
<\/a>Hailing from Oslo, Norway, Tine Isachsen sees her art as a \u201cdreamlike world where unsettling beauty emerges.\u201d Working predominantly in watercolors and line drawing, Isachsen\u2019s surreal art tends to feature faces, portrayed in eerily bright colors, with heavy round eyes. The effect is equal parts creepy and lovely. A portfolio with a grid-based layout allows Isachsen to show an instant overview of her artwork.<\/p>\r\n

\"Tine<\/p>\r\n

Jamiya Lowe
<\/a>Artist Jamiya Lowe\u2019s online portfolio is full of surreal scenes. Mutant animals, oddly human insects, and skeletal figures appear against wildly colorful backdrops. Lowe\u2019s work is as captivating as it is unsettling. The Montreal-based artist uses pastel-toned text on her site to complement the vivid hues of her work.<\/p>\r\n

\"Jamiya<\/p>\r\n

Emma Fineman
<\/a>Painter Emma Fineman often represents bodies and interiors, using thick brushstrokes to depict domestic scenes in unreal shades of color. The American artist is currently based in London, where she studies at the Royal College of Art. Fineman\u2019s portfolio divides different series of works into separate galleries, keeping her art neatly organized.<\/p>\r\n

\"Emma<\/p>\r\n

Felix Treadwell
<\/a>London painter Felix Treadwell makes canvases inspired by comic strips; behind his cartoonish characters, though, there\u2019s genuine sentiment. Treadwell\u2019s website lets his works fill up the entire screen, aiming for the same kind of immersive feel the viewer would get when seeing his paintings in a gallery.<\/p>\r\n

\"Felix<\/p>\r\n

Creature Creature
<\/a>This Australian artist duo is made up of Chanel Tang and Ambrose Rehorek, who met at university and now create murals as well as paper, plywood, and more. Creature Creature\u2019s work often features highly stylized creatures, of course, in a distinct style that fuses traditional and contemporary art.<\/p>\r\n

\"Creature<\/p>\r\n

Lori Birkbeck
<\/a>Nostalgia is a central theme of multimedia artist Lori Birkbeck\u2019s work. Taking up typical signifiers of sentimentality (roses, water lilies, lace), Birkbeck creates work that questions the authenticity behind these symbols. She separates her work into different media, with a vertical scroll that makes it easy to get lost in each gallery. <\/p>\r\n

\"Lori<\/p>\r\n

Andrea Manica
<\/a>Whether she\u2019s decorating a brick wall, a fence, t-shirts, or regular old paper, Andrea Manica always brings a sunny feeling to her creative work. Manica\u2019s murals can be spotted all over Toronto, adding personality to garage doors and downtown streets. She shows her work in a simple vertically-scrolling gallery; a small graphic logo gives her site character while keeping things minimal.<\/p>\r\n

\"Andrea<\/p>\r\n

Alfie Kungu
<\/a>UK-based artist Alfie Kungu creates large-scale paintings, as well as drawings and very charming patches. Kungu showcases his colorful, poppy works in a horizontally scrolling gallery that keeps his portfolio feeling simple and minimal.<\/p>\r\n

\"Alfie<\/p>\r\n

Marne Grahlman
<\/a>Illustrator Marne Grahlman says in her bio that she aims to \u201cexplore metaphors in a surreal environment using characters that are both awkward and comely.\u201d Her work contrasts watery pastels with bold black patterns for a unique effect, and has been featured in Broadly and Der Spiegel.<\/p>\r\n

\"Marne<\/p>\r\n

Henry Boon
<\/a>Artist Henry Boon creates digital illustrations and also works with paint on paper and walls. He keeps his portfolio straightforward with a grid-based layout that offers a wide overview of his work, and a graphic logo depicting his initials. Boon\u2019s playful style features lots of primary colors and pastel hues, as well as goofy animal characters.<\/p>\r\n

\"Henry<\/p>\r\n

Jenn Liv
<\/a>This illustrator brings her dreamy, cartoon-inspired style to editorial commissions for publications like Bloomberg Businessweek, NPR, and The New York Times. Frequent use of repeated patterns, vivid colors, and bold, geometric shapes give her work unique character. Liv\u2019s online portfolio features a black background which makes her colorful work stand out.<\/p>\r\n

\"Jenn_Liv_Online_Portfolio.jpg\"<\/p>\r\n

Melissa Zexter
<\/a>Artist Melissa Zexter creates densely layered, textural works by embroidering onto photographs. Zexter says that her work aims to \u201cexplore memory and personal experience while manipulating the generic qualities of the photographic print.\u201d Zexter\u2019s art is full of contrasts: traditional and modern, past and present, craft and high art, color and black and white. Her simple portfolio uses a sidebar menu to keep different projects easily accessible.<\/p>\r\n

\"Melissa<\/p>\r\n

Ly Yeow
<\/a>Sydney artist Ly Yeow describes her work as a mix of \u201ccats, people, and splashes of colour.\u201d Her art is full of fantastical scenes and cute characters which translate well to both murals and works on paper. Yeow counts brands like Airbnb and Starbucks among her clients, and also teaches creative workshops in addition to working as an illustrator.<\/p>\r\n

\"Ly<\/p>\r\n

A-B Moore
<\/a>Artist A-B Moore works in tattoo as well as drawing, collage, sculpture, and more. Their portfolio is divided into galleries of different mediums, navigable via a simple sidebar menu. Moore\u2019s collage gallery, seen here, is full of surreal works which invoke mythical inspiration. Technicolor birds and insects are set in abstract landscapes for a body of work that\u2019s unusual and thought-provoking.<\/p>\r\n

\"A<\/p>\r\n

Claire Scherzinger
<\/a>Painter Claire Scherzinger\u2019s work has a definite fantasy feel. Featuring holograms, disembodied eyes, and strange foliage, Scherzinger\u2019s eerie art demands a second look. The Canadian artist\u2019s online portfolio lays out her work in a grid format to give an overview of each painting series.<\/p>\r\n

\"Claire<\/p>\r\n

William Redgrove
<\/a>Illustrator William Redgrove creates fantasy-inspired patterns and surreal GIFs. He\u2019s carefully selected fonts which complement his artwork. His menu has the same contemporary-yet-traditional feel as his illustrations, which often feature runes, mystical symbols, and magical creatures.<\/p>\r\n

\"William<\/p>\r\n

Sarah Alinia Ziazi
<\/a><\/span>Artist Sarah Alinia Ziazi creates work that aims to explore and interrogate \u201cfemininity and its stereotypes.\u201d Her illustrations and installations use a pop art sensibility to explore themes around identity and gender, with surreal scenes and figures rendered in mixed media.<\/p>\r\n

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Online Portfolio Platform, and 18 Artists Who Use It","numOfComments":"0","text":"Juxtapoz is partnering with Format to expo their platform for making online artist portfolios. They've included 18 artists' websites made using their program, to show the range of designs and tools that artists can use to create a website of their own.","event":{"BeforeDisplay":"","AfterDisplay":"","AfterDisplayTitle":"","BeforeDisplayContent":"","AfterDisplayContent":"","K2BeforeDisplay":"","K2AfterDisplay":"","K2AfterDisplayTitle":"","K2BeforeDisplayContent":"","K2AfterDisplayContent":""},"jcfields":[],"videoClass":false,"twitter_introtext":""},{"id":"65165","title":"DesignerCon 2017 Recap, featuring Ron English, Nychos, Flavor Flav, and More","alias":"designercon-2017-recap-featuring-ron-english-nychos-flavor-flav-and-more","catid":"18","published":"1","introtext":"Our photographer Bird Man recently attended DesignerCon at the Pasadena Convention Center. DesignerCon brings together a multitude of contemporary, urban, and pop artists, showcasing their collectibl<\/span><\/span>","fulltext":"\r\n

We also got a recap video of the event, which is included below:<\/p>\r\n