That juxtaposition—of the tranquility of a floral still life in the context (or the literal fluid) of the kinetic high of an addictive energy drink—creates a kind of sweet contradiction within de Bill Baboul's photos. "Like kids on ecstasy in a techno club celebrating the end of the world," he said.
Peep the series, below.
Born in Salt Lake City, Utah, McCarthy’s beginning in the art world stems from proximal radicalization. After moving from Salt Lake City to study in San Francisco, McCarthy's work as an artist has always embodied this radicalization. Street-wise, known for being one of the most
“dangerous” artists in Los Angeles, this exhibit encapsulates that at its forefront. The artworks present provocative, scattered drawings and paintings that promote freedom from systematic censorship in the exchange between creator and receiver. His art style is distinctive in its intention of visibility over technicality, as seen in his limited color palette and intentionally imperfect techniques, but radical imagery.
McCarthy speaks about his artistic process as though the outcomes are inevitable and incredibly natural to him, given the current state of the world. Living in times of constant uncertainty has blurred the lines of media censorship; almost everything we consume is shaped by it, raising questions such as: Why was this said? Why was this created? Who is this for? Paul McCarthy’s work deconstructs this. His drive to create authentically and follow what feels natural to him results in art that inhabits the visual extremes of human experience, with the spirit of contestation serving as an added layer to the experience.
Sten Studio specializes in stones and crystals as decorative interiors, expanding on natural, Earthly beauty in man-made environments. Alcova temporarily transforms raw, abandoned, and unique urban spaces into immersive hubs of design, innovation, and heritage. The featured collection revitalizes the cathedral for a final reception celebrating life and all its momentary yet abundant bursts of joy.
