Every place in the house has its role and the role of the bedrooms is to keep secrets, the most intimate and passionate moments, our true self, but also to protect ourselves from feelings that hurt too much. These are places that attract and intrigue everyone, including the illustrator Fabio Sciarrillo.
On Instagram, where you can find him as @effenemea, Fabio publishes his works that take us inside the houses and while outside the world burns, or simply continues its daily course, between four walls cigarettes smoke, love is consumed and reality makes room for imagination and thoughts.
Using a marked and safe line, the illustrator plays on the contrast, not only that of black and white but also that between outside and inside the house.
In our gallery you can find a selection of his works, to discover more follow him on Instagram.
The art that offers ample food for thought and linked to current events must always be rewarded. For some time now, this has been what Shawna X has been trying to do, an illustrator who lives and works in New York and who has recently become a mother.
The new life that fills her days has not only had a strong impact on her daily life but also on her work. In her latest works, we can clearly distinguish between female subjects, women who are breastfeeding or who are living a pregnancy, but also moments of intimate tenderness between an infant and her mother. The psychedelic and colorful style of the illustrations succeeds in making it even more special and succeeds in emphasizing the topic touched upon.
With her drawings, Shawna X clears an issue that has not been adequately addressed, namely the change that a woman experiences during pregnancy and after the birth of a child. Obviously this is only a starting point to deepen what is the role of women in today’s society and what it should be.
It could be the beginning of yet another news article about the incessant fires in California and instead is the incipit of one of the cult movies of the last forty years.
It was 1982 when Ridley Scott presented his third film, Blade Runner, to the world. The CD was recently released and the World Wide Web is still an unreachable dream, but the English director decides to transform the novel by Philip K. Dick Do Androids Dream of Electric Sheep? into a screenplay and, therefore, to give a shape to the future.
Today, thirty-seven years later we have arrived at that famous November 2019. The situation is not exactly the same as the world inhabited by humans and replicants, but maybe we’re not even too far away.
The film opens with an aerial view of Los Angeles where the old buildings have made way for endless skyscrapers from which smoke and flames come out. The entire city is covered with a blanket of smog and fog that not only causes incessant rain, but also represents a real impenetrable barrier to the sun’s rays. This environmental situation has made the Planet unlivable both to humans, many of whom migrated to colonies outside the world, and to plant species, completely lost, and to those animals, replaced with artificial copies.
As in any self-respecting society, the survivors are still divided according to the wealth that has created an unbridgeable gap between the poor classes, relegated to the lower part of the city, and the wealthier classes that still have the highest and highest levels.
The scenario looks like a technological forest where the only sources of light are artificial: neon billboards, lights from windows and car headlights.
By the way, if Ridley Scott and scriptwriters Hampton Fancher and David Webb Peoples haven’t gone that far on the climate situation – counting that the pollution levels of big cities like Cairo, Beijing, New Delhi, and Hong Kong, often cause dense fogs that blur the streets and the division of wealth is far from equal – they’ve seen a little long on the subject of engines. Of course, we now have high-speed trains and planes that have shortened the distances a lot, but the flying cars that zigzag between the upper floors of the buildings are still a utopia.
In all this apocalyptic marasmus, it cannot go unnoticed that Ridley Scott’s Los Angeles teems with police in every corner, a situation increasingly similar to that of our city centers.
Blade Runner is one of those films that has managed to pass the test of time, standing out in the immense panorama of science fiction films. The future staged by Ridley Scott certainly and fortunately does not follow ours, but it can be an excellent starting point for reflection on the present that we are living.
Bianca Wilson is a visual artist based in Sydney, inspired by the serial architectural elements present within the urban context. Her fascination with these architectural forms translates to the canvas as a geometric art that is both vibrant and delicate.
Bianca’s main source of inspiration is not only Sydney, where she resides, but also the places she visited as a tourist, such as Tokyo, Osaka, and Melbourne. Her technique is based on images that seem almost close-up photographic, which the artist translates into painting through strong brushstrokes, characterized by a palette of extremely exuberant colors that give character to the scenes.
Her use of color is particularly evident in ‘Total House, Melbourne’ dated 2019, an acrylic variation on canvas on the brutalist building of the same name, which is precisely revolutionized by the bright tones of the colors.
We left the famous French artist JR in Cuba, with the work “Giants, peeking at the city” on the occasion of the Havana Biennial, but this time we find him in Italy with the Italian director and screenwriter Alice Rohrwacher. The first images of the project appeared on Instagram; it is the short film An agricultural prayer that thanks the class of farmers:
“For all those who through the centuries have protected springs and forests to leave our children a planet as fertile as they found it”.
In the most recent post it is possible to read the integral prayer:
On the profile there is also another post, which takes up a beautiful quotation dated 1962 by the great Pier Paolo Pasolini:
“When the classical world is exhausted, when all the farmers and all the artisans have died, when there are no more fireflies, bees, butterflies, when industry has made the cycle of production unstoppable, then our history will be over”.
JR and Alice Rohrwacher have already developed work on farmers and on the world of the countryside: through this collaboration both are ready to give life to a work that celebrates a world that needs to survive, at least through art.