Rebekah Bogard‘s cute, pink and white, rabbit-like ceramic sculpture creatures, arranged in installations, explore themes of gender, femininity, and sexuality. As Rebekah says in her artist statement on her Website, “I enjoy utilizing animals because they are beautiful and mysterious creatures, vulnerable to relations with humans. This susceptibility gives them a sense of benevolence that is often lacking in human associations….Some pieces look cute, sweet and innocent, but upon closer inspection, one realizes that the piece is conceptually more complicated. They may be read simultaneously as happy-go-lucky as well as melancholic and out of place. I blend the beautiful with the sad, fantasy with reality, idealism with truth as well as the sexual with the innocent.”
Tags: animals, ceramic, ceramics, creature, cute, cute n creepy little creatures, fauna, femininity, fleshy, flora, flowers, innocence/menace, installation art, sculptures, sexuality, sweet/melancholy, weird sculptures, woodland creatures
Here is a trailer, featuring gameplay, for Alice: Madness Returns, which was released earlier this month (making it the fifth and final trailer).
Alice: Madness Returns is released in the U.S. on June 14, and in Europe on June 16, for Microsoft Windows, PlayStation 3, and Xbox 360.
I’m so looking forward to this!
Tags: alice in wonderland, american mcgee, colorful, cute n creepy little creatures, dark fairy tales, dreamscapes, gloomy color schemes, hauntingly beautiful, horror video games, innocence/menace, insane asylum aesthetic, insanity, madness, neo-victorian, psychological horror, surreal, trailers, victorian
Hikari Shimoda‘s creepy paintings of children depict them as sweet, sinister, wounded and abused. The eerie mouths, asymmetrical, strange little faces and one-eyed appearance (often one milky eye, one bruised and bloody-looking) of these alien but painfully familiar little beings, rendered in bright or pastel, almost child-friendly, but also quite subtly mixed and profound, colors, all serve to give a creeping sense of the corruption of innocent childhood, an inversion of the saccharine bliss associated with little children.
As Shimoda explains in her artist’s statement, “Contrasting with my daily cheerful demeanor, my unexpressed emotions accumulate inside of me. I feel like an outsider, isolated, lost, and have a hard time building relationships with others, but I never give up being part of the world. The secret to survival? Observe, feel, and listen to yourself. I stand in front of my canvas and confront it, releasing all the built-up unverbalized emotions, the chaos, and the unnoticeable darkness. Even though I know my contrasting side will be shone in the light with no place to hide, I paint to live and to be connected in this world. I accept and understand myself more through my artistic processes than anything else. As I know myself more, I can see others better.
My motif is mainly children. They are nobody, and yet, they could be somebody. They could be me as a small child, or they could be somebody’s inner child. Children, as ambiguous of an existence as they are, reflect my personal world and the universal problems that society today has.”
Tags: bandages, bizarre, bruises, children, colorful, cute n creepy little creatures, distorted bodies, dollflesh, injuries, innocence/menace, lolita-esque, mute, neo-victorian, pastel, surreal, twins/doppelgangers/doubles, unnaturally colored flesh, wound
via Circus Posterus
The Magic Bottle by Camille Rose Garcia is a wonderful children’s book (for weird kids, maybe) that demonstrates her writing skills as well as her visual artistry. This book is dark, whimsical, and delightfully imaginative. It expresses in a very complete way her concept of “The Tragic Kingdom,” of strange animals and inanimate things (even the ocean is alive and conscious) on a human level living and struggling under the black cloud of industrialism; creating a whole roiling breathing world that has never been seen before. Her cutesy, yet melancholy and acid trip-like style features constantly weeping, lugubrious-looking cartoony characters, in a world entirely of her own creation, populated by bizarre, menacing, and threatened creatures. Growing up in the sinister shadow of Disneyland, Camille was intensely disillusioned with the artificial, sterilized promise of heaven that it offered.
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