I love Yuri Shwedoff's subdued, atmospheric renderings of vestigial technology and the people who still see it, still wear it. The lansdcape wears it, too, and it evokes for me a deeper relationship with technology rather than the darker one often implied by postapocalyptic art. Here it's not disused. If anything it's less alien. It just fits somewhere else in the human imagination.
Here's a short interview with him.
I grew up in Krgyztan, among the mountains, lakes and abandoned Uranium mines. The feel of this nature greatly influenced my taste in color, light and subject of my paintings. When I moved to Russia, I was inspired by the remnants of Soviet architecture, the monuments in the style brutalism, The huge scale of abandoned human creations, long cold winters and cloudy day.
I think I'm going to put a couple of bucks into his Patreon to get access to his tutorials. He's on Instagram too.
12 years ago, I covered the launch of artist Jason Polan's project to sketch every single person in New York City (he'd previously sketched every work of art in the MOMA).
Osamu Sato is a talented polymath artist from Japan, known for his psychedelic video game scores and his pioneering work on computer graphics.
Machinist-sculptor Chris Bathgate (previously) has unveiled his latest: a vase ringed with razor-sharp knives ("an object that mischievously demands that it be appreciated for more than its precarious utility").
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