“Weekly Top 10 Picks” can be contributed by anyone in the SR community. To participate send your weekly 10 favorite artworks on SuperRare to [email protected] and we’ll get your picks featured!
Weekly Top 10 Picks by an
It’s impossible to miss the signature style of Sarah Zucker: analog video, vintage CRT Television, 1991 Sony VideoPainter, GIFs, glitch, feedback loop, VHS. The retro glitchy effect of Sarah’s art evokes the nostalgia for a time when technology captured people’s fascination and excitement for the new, unknown and unexplored. It was like something magical and brought with it a whole world of possibilities. Like said in her interview: “as I’m part of the first generation of true digital natives. I choose to focus on the beautiful aspects of that.”
Once again impressed by Shapiro’s dancing flamingos. I love how he can put his dancing flamingos in literally all kinds of settings, be it physical or mental; cheerful, scary, solemn, or in this case – psychedelic. He then gives (the dancings of) flamingos totally different “functions”, moods, and meanings within various settings. This time his dancing flamingos go AI DeepDream, which is computer vision program that uses a convolutional neural network to create a dream-like hallucinogenic appearance. Now the flamingos keep dancing cheerfully in your psychedelic visions. What a mood.
This is a classical femzor erotic surrealism with the femzor red. It may look simple at the first sight, especially the construction of the space by what can’t be more basic 3D rectangles. However, when you look closely, there are so many weird, contradicting little details. It’s serene (the mirror like pond of water, swan, plant on the edge of it – all completely tranquil, the girl at the far end looking peacefully at the sunset/sunrise), scary (the fast flying swallow heading toward the wall, the spider on the butt, the three shark fins circling the red hand sinking into an unknown abyss – it is desperately crying for help, the red eye on the back of the woman’s head), sexually charged (two barely dressed women showing their beautiful backs) and illogical (the lighting of the space doesn’t make sense at all – the shadows on the rectangular, the redness of the wall/outer-space/land and the greenness of the sky and pond.) And why are there two almost identical women, one looking stealthily at the other’s back? Is she going to kill her? It’s like an erotic nightmare in an indefinite time and space, you want to and do not want to wake up at the same time.
animatttic constructs a surreal space with simple geometric shapes. It starts with weird title and description. Why is it “Pink” Room? Why is it a room “without” a view when there’s clearly a view inside of the space? The lighting, shadow and reflections are inconsistent or slightly wrong here and there, making the space feel fuller than it actually is. The thin wall in between is uselessly supported by two extremely slender poles. Then it’s the eerie feeling that the sphere has its own life. You wonder why it is there, and what relation it has with the circle window, circle light spot. And at last, the classical liquid crystalline object in a timeless monochrome space.
aeforia’s 3D human head/face is chemically eroded like stones. aeforia has a love for faceless (or partially faceless) human figures. They are often mysterious, without clear identity/personality, wearing simple monochrome one big cloth, which is more like a body veil than real clothes. And the purple.
Although it was inspired by demonstrations in Turkey in 2013, “Love is a Riot” is, like android_jones says, not less relevant to what we are experiencing in 2020. From the bird’s-eye view, you see two people’s profiles, colored red and blue, close to kiss each other, with their hair on fire. Zooming in, you see two groups of demonstrations on the street, smokes of gunpowder and fire. But it’s not hatred, violence or conflict Jones sees, but love. Poetically says in the description: “The expression of love is one of the greatest mysteries and it manifests in a myriad of phenomena. Love is incredible, love is crazy, love is pain, and ….Love is a Riot.”
David O Reilly’s super cute panda-like series illustrates surreal or existential states of being in the most direct, straightforward way. In “Little Doubts,” the character suffers – little doubts – like all of us do. It begins with the character walking through an indefinite all-gray smooth space. However, it turns into disturbingly colored (strong red, yellow, green, purple) nebula occupying the whole space. That’s the “little doubt” that ambushes and attacks us out of nowhere. With a shake of head, the character is able to shake the doubt away, keeps walking, but the doubts will come back again and again. The audio also stressed that the character is walking alone in its own mental space, with the clear echoing footsteps and the feedback sound symbolizing the paralyzing effect of doubts.
In contrast to ISO iso made exactly around 100 days ago by Marc O Matic himself, which depicts a family size house under the covid life of isolation and social distance, “Melbourne Crossing” is such a lively picture (well, animation) of a whole city coming alive after 100 days of lockdown. You can feel the cheerfulness and energy exuding out of the city life from morning to night. The busy traffic of train, buses, cars and planes. People hanging with their friends everywhere. The green is flourishing. There are even fireworks. “Melbourne Crossing” gets inspirations from the style of Animal Crossing. It’s truly a piece of art recording its own time.
Richard Garet’s works question the perceivable reality and the process of perception in contemporary society in regard to images and sound. They are composed with the combination and interaction of colors. The colors are superimposed or arranged in perspective echelon. However, none of the color fields has sharp contour. Each frame “threatens to overwhelm its borders” with saturation so that at transitions one color would intermesh with the other to create intense optical effects – the color glows like fluorescent light. The animation only intensifies the effect. It’s reminiscent of James Turrell or Josef Albers in animation.
This 3D digital female nude sculpture bears Jason Ebeyer’s signature human form – glossy, sensual, alien-like facial structure, slightly disproportioned for the effect of eroticism body feature; and you can literally see her from every angle. She’s like the digital fashion model of next century.