The Art of Alex Gross

Alex Gross is an LA based artist who creates incredible oil paintings that often explore the themes of globalisation, commercialism and beauty. His works suggest that in the world we live in, it is impossible to escape consumerist and media pressures.

Memory Fragments, 2015, oil on canvas, 40.25 x 53.5 inches

Candy Crush | Oil on Canvas | 48.25” x 33.5″ | 2014

Selfie | Oil on Canvas | 22” x 15″ | 2014

Come to where the flavor is. | Oil on Panel | 20.5” x 18” | 2010

Original Sin | Oil on Canvas | 54” x 56” | 2011

Siren | Oil on panel | 28″ x 45″ | 2004

Tattoo inspired art: Alisha Murray

Alisha Murray is a 28-year-old freelance artist from Metro Detroit, Michigan. We chatted to Alisha to find out more about her tattoo inspired illustrations, her own tattoos and she has also created an original piece inspired by Things&Ink magazine.  

Do you have a background in art? Yes, I have been doing art since a very young age. It evolved as I got older and better, and even branched into crochet and the culinary arts. Ultimately, traditional artwork is the most rewarding to me. Most of the techniques I’ve learned over the years are from trial and error, but I also learned some of the fundamentals through elementary to high school, but I never went to college for it.

Where do you get your inspiration? Inspiration comes from all places. Lately tattoos both modern and traditional have been a great source of inspiration. I  get a lot of inspiration from the walls of tattoo shops. I have always been drawn to flash art since I was a kid. My grandfather had some ink from the Navy and it always fascinated me and made me want to create similar pieces. As I got old enough to get tattooed, I really paid attention to details of pieces whether American Traditional or Traditional Japanese pieces. They are both styles I admire very much.

How would you describe your style? Most of my newer pieces are a fusion of tattoo flash and hand gestures. I really enjoy making hand gestures that aren’t very politically correct, but still have beautiful tattoos. It’s amazing how much people accept and appreciate some of my more obscene pieces. It makes me happy to know people are just as weird as I am. There are many tattoo artists that create beautiful hand gestures on flesh and I hope I’m doing them right on paper.

Are there any artists that you admire and that influence your work? There are so many amazing artist out there that I admire, such as Bryn Parrot and Liz Clements. Others such as Garth Hixon, Daniel Cotte, Iris Lys, Drew Linden, Anna Sandberg, and Gareth Hawkins have inspired and impacted my work immensely. Every day I see new work from these amazing tattoo artists and I can’t help but be inspired. Their talents make me want to better my work and my knowledge of the tattoo culture.

What medium do you use? I use many different mediums, but I mostly use pen and ink mixed with digital for my hand gestures. I line everything out and finish the background on Photoshop to give it a clean solid colour. Once in a while I’ll use ink and nib with liquid acrylic and watercolour to practice my line work.

Do you have tattoos? Do they have a personal meaning to you? I have many tattoos. I can’t really count them any more. I’m completely solid from my neck to my knees with traditional Japanese pieces. From under my knees down I have some American traditional pieces that I have created or my artist has. I’ve always wanted a full body suit and I’ve been working on it since I turned 18. I always embraced my grandmothers Japanese heritage and was raised learning some of the traditions. Most of these pieces I have are based on Japanese folklore monsters. I always loved the stories behind the mythology of Yurei and how each Provence has different adaptations of them. I knew it was taboo to get ink and be completely covered in tattoos, but I can’t imagine anything more beautiful that someone could do to their own body. It’s definitely the only body enhancement I will partake in. I also have matching tattoos with my husband of our two dogs that I designed. Definitely the biggest matching tattoos I’ve seen. Garth Hixon of Village Tattoo in Romeo, Michigan is the artist behind 99% of my existing body suit.

Where can people buy your art? My art can be purchased at a couple of online stores such as society6.com/alishaannredbubble.com/people/aamurray, and my very own website, scoobtoobins.com. Society6 and Redbubble also carry my work on apparel, bedding, and more.

Grace Garcia Illustrates No Cure Magazine

Spanish illustrator Grace Garcia  has created a series of drawings for Issue 7 of No Cure Magazine, an Australian indie art culture publication.

GIRL POWER is 84 pages devoted to the many kick-ass, talented chicks out there creating cool shit for those of us who appreciate cool shit.

Grace’s illustrations perfectly capture this notion as the women are covered in self-made tattoos and doing a whole host of sporting activities.

Cultural appropriation and tattoos

Our guest blogger is psychologist, freelance writer and creator of the blog Dream Electric, Ally Richards. In this post she considers cultural appropriation and tattoos. 

Heritage often acts as a source of inspiration for tattoos. It’s also equally common for tattoo collectors to adorn their bodies with representations of other cultures – perhaps memories of places visited or finding inspiration in another population’s practices.

By Carlos Torres

When getting a tattoo referencing a culture that is not your own, issues can arise. We cringe at the (often misspelt) Chinese character tattoos that attracted popularity in the 90s and the use of other cultures as “exotic” or “edgy”. Beyond these examples is the possibility that the tattoo will provoke offense in members of the cultural group referenced and the wearer may be accused of “cultural appropriation”.

What is cultural appropriation? A quick google quickly evidences the controversy behind the term – angry voices making claims of racism and further angry voices proclaiming freedom of expression. In brief, cultural appropriation refers to a majority group who adopts the symbols and signs of a minority group. A power dynamic is inherent; the privileged group (often white and western) takes from an oppressed and marginalised group. This differs from “cultural exchange”, in which the trading between groups is mutual. The power lies in the hands of the majority group – they get to choose which symbols they take on and stand to benefit from this appropriation. This “accessorisation” trivialises and erases the oppression experienced by the minority group.

But I’m not racist, I just think it’s pretty…

Headdress by Ben Klishevskiy

A recent example of cultural appropriation is the wearing of “Red Indian headdresses”, which have become popular accessories. The headdresses (known as warbonnets) have a deep spiritual significance in Native American culture. Native Americans are also a minority group who have a history of oppression and suffering at the hands of Americans. The wearing of the headdresses encourages stereotypes and when worn with skimpy festival-wear it promotes the sexualisation of an ethnic group which already has a high level of sexual assault perpetrated against them. This year Glastonbury banned the sale of the headdresses at the festival for these reasons.

Mandala by Jonathan Toogood

But what about tattoos? Unlike a culturally insensitive costume, a tattoo is usually carefully considered and a lifelong commitment, not a trend to be picked up when convenient. However, by the above definition, cultural appropriation is very common in tattoo culture. Many white people sport tribal blackwork designs inspired by Maori culture. Mexican “sugar skull” designs and mandala tattoos inspired by Hindu and Buddhist practices have become increasingly popular. All of these designs come from cultures that have been historically (and in many cases still currently) oppressed by white people. Is this problematic?

Skull by Mike Harper 

You are free to present your body in whichever way you choose, and your tattoos are your own choice. However, others also have the right to be offended and express this. If you decide to get a tattoo representing a minority culture, you should be prepared for this possibility.  Although your intention is not to be racist, others may see it as such.

If you are in the white majority, it is not for you to decide what is and is not offensive to other groups. Inform yourself of the history and significance around your chosen design and discuss this with members of that community. You may find it helpful to speak to a tattoo artist from that culture. It may be possible to incorporate the aspects of the symbol you find appealing into a more culturally respectful tattoo. Above all, regardless of the eventual choice you make, being thoughtful is key. A tattoo is for life and you don’t want to be spending your later years defending it! Careful consideration of the cultural context around your tattoo may avoid unintentional offense and embarrassment in the future.

 

Carey Fruth: Redefining ‘American Beauty’

Photographer Carey Fruth based in San Francisco has created a series of images titled ‘American Beauty’ featuring 14 women who are redefining the American idea of what beauty is. The images have been inspired by the 1999 film American Beauty and the rose petal fantasy scene in which Lester Burnham (Kevin Spacey) renders Angela Hayes (Mena Suvari) powerless with his male gaze.

The women pictured lie naked in a bed of lilacs and are of all shapes, sizes, ages and ethnicities. Unlike the film the women pictured are reclaiming their power and do not fit into the media-created body shape ideal, instead they are embracing their bodies just as they are.