Put Your Head into Gallery is an interactive art project from Tezi Gabunia which presents four different models of famous galleries’ rooms. The installation allows visitors to become part of the exhibition by putting their heads into miniature models of world famous art galleries complete with exhibitions of different artists in the spaces: Saatchi Gallery (Tezi Gabunia), The Louvre (Rubens), Tate Modern (Hirst), Gagosian Gallery (Liechtenstein).
Gabunia explores the idea of falsification and hyperrealism within the art world. Under a concept of falsification, Tezi Gabunia presents his false exhibition at Saatchi Gallery. The second stage involved the scaled copies of famous gallery rooms created using laser cutting technology and PVC and plexiglass allowing the participant to become part the exhibits themselves – conceptually making art accessible to all.
concept: tezi gabunia, ucha urushadze, nika maisuradze, dato tsanava
model: davit dolidze
text: mariam nadareishvili
research: dato koroshinadze, oto shengelia
photography: andro eradze, saba shengelia, chipo pelicano, giorgi machavariani, ani beridze
Artist Hubert de Lartigue is heralded for his classically sexy French Pin-Up girl paintings – but its his new bodily obsession that’s turning heads.
His hyper realistic large-scale paintings of lips are fascinating studies of subtle eroticism… a process captured by building up coats of acrylic, then smoothing out the rough edges with brushstrokes and sand paper.
The result are paintings that look like the real thing…moist, pink, intimate lips right down to their fleshy tongues.
Hubert de Lartigue is a French painter based in Paris.
You can follow his work on his website and his blog.
The images above, while indistinguishable from photographs were drawn by Ashley Oubré, 27, a self-taught artist from Washington D.C. Oubré’s portraits exist in a realm far beyond mere pencil drawings in what can only be defined as “hyperrealism.” Oubré’s pieces, each executed with immaculate detail and precision, vary in degrees of abstraction, a refreshing rarity for this genre of art. Her subjects are often composed in a world of vacancy (sometimes figuratively; either “floating” on the page; rendered in a distant corner; or with literal bodily extraction), mirroring the artist’s own struggles of isolation and loneliness. To view Oubré’s work is to be invited into an “Alice in Wonderland”-like world; the viewer is first enchanted by the beauty of her craftsmanship, only to find himself trapped in a world both undefined and surreal.