Mike Pelletier: Lucy Skull
“In 2011 I was invited to create a piece for an exhibition called “Ctrl-Z” curated by 3d artist
Settlements and City Strategies by Lekan Jeyifous
This series contains abstracted planimetric drawings and eerily-serene cityscapes that suggest the changing contours of urban settlements. They represent an idea of a degenerate futurism, yet one might find similar typologies and scenes in places such as the favelas of Brazil and North Africa, and in overpopulated cities such as Lagos, Mexico City, and Mumbai. Though outputted digitally, the drawings possess a textured and painterly quality as a result of combining hand-drawn sketches, industrial textures, surfaces of deteriorated paper, and digital architectural models.
A constant interplay between digital and analog processes is important in my work, resulting in a highly layered set of documents. The drawings presented here started out as digital images that were outputted, sketched and drawn over, and scanned back into the computer in order to be retraced, textured, and layered
There are a lot of shipwrecks in Sydney’s Homebush Bay, near the Olympic village, but none quite like the SS Ayrfield, also known as “The Floating Forest” for the lush mangrove vegetation that now covers its rusty hull.
Photo: Rodney Campbell
Photo: Steve Dorman
Photo: Jason Baker
Photo: Neerav Bhatt
“Ruth Marten’s drawings occupy and enact upon the historical spaces of vintage prints by detourning them with the precision of the tattoo artist. From 1972 to 1980 she was an important figure in the tattoo underground and, as one of the few women practicing the craft, influenced people’s ideas about body decoration. Working during the disco and punk era, she also tattooed in the Musée D’Art Moderne de La Ville de Paris during the 10th Biennale de Paris in 1977.”
‘Woman in White with Flowers’, 2012
canvas, stretcher, acrylics, paper, glue, foil, foam, wire, artificial foliage, sand, thread