I was doing some late night research for illustrations of birds for an infographic piece that we have couming through the studio in the next week. As far as I’m concerned, any research project that allows you to sift through endless illustrations by Charley Harper cannot be a bad thing. However, my intended post about Harper was sidelined when I stumbled upon the collage work of Kareem Rizk.
The influence of data system mapping is immediately apparent when first confronted with the drawings of Emma McNally. The complexity of lines could represent online chatter, the flight path of starlings, or a new global epidemic. But they are all pencil on paper and any system that is being plotted here exists purely within McNally’s mind.
This link is blazing across the internets like wild fire but thought it worth posting here: yet another timely and beautiful New Yorker cover by Chris Ware.
For some time now, I have been on the lookout for examples of Japanese street art. The uncanny means by which Japan adapts Western culture, reprocesses it and then spins it out as something altogether hyperreal, combined with the ever-prevalent superflat movement suggested that there must exist something extraordinary in the darker corners of the Tokyo streets.
So it was great to read PingMag’s recent piece on The Ghetto, a former love hotel in Shin-Okubo that has been converted into a skater shop/graffiti space. The article also provided links to flickr groups on Tokyo Street Art and throughout Japan. But I found what I was truly looking for in the calligraphy of designer/artist USUGROW which is an incredible hybrid of not just Western and Japanese scripts but also Arabic influences. Kakkoii desu yo!