Spaced Invaders

I found this during my daily browsings of the internet. This was done by artist Logan Walters I think the Joker and the Sunglasses one are my favorite.

Hailing from New York, Scott Debus moved to Charleston, SC three years ago and opened a gallery that showed his art as well as others on Bogard St. Debus is the Co-curator and co-organizer of Kulture Klash, the bi-annual multi-disciplinary contemporary art event in North Charleston that incorporates his New York persona.

Various paintings that Debus creates start as pure color and they morph into characters that become faces and figures. The artist describes his process of the new original painting, “UPtake” in the simplest form: “it’s like staring at clouds and pulling pictures out of them.” The superhero and ancient religious idol influenced painting, “I Don’t Believe in UP”, actually has the faces of local artists that Debus has collaborated with recently. They are all  flying over the slums and dump while a McMansion is perched up above on a pile of dirt.

Artwork on view from Sept. 4th - 29th
Scoop Studios
57 1/2 Broad St.
Charleston, SC 29401
843.577.3292

Kulture Klash 4 is coming up on April 14th. The Spaced Invaders have been asked back to perform. This time in a larger venue. Gustavo Serrano, one of the people who puts this together says that the venue will be much larger and will have even more areas for us to project on. I’ll keep you all posted.

I found this during a random stumble upon on through the world wide web. The original post is here: illusion.scene360.com Just some cool dissonance to break up the average urban sprawl in Madrid. Check out SpY’s Website here.

Gardening

Traffic Light

Bricks

Signs

Zebra Crossing

Top Images are from the “Urban Furniture” Series.

Notes from the Artist’s bio:

SpY is an artist from Madrid. His first actions appeared in the middle eighties. Shortly after, already a national reference as a graffiti artist, he started to work with other forms of artistic communication in the street: large posters, modified billboards, interventions that were experimental in the first nineties.

His work consists in the playful reappropiation of urban elements, that he replicates or transforms and then installs in the street. All his production stems from the observation of the urban environment, a sense sharpened by years of experience as a graffiti artist. A careful attention for the context of each piece and a constructive and non-invasive attitude unmistakably characterize his actions.

From the “Interventions” series:

Cow

Paint

Public Art