15 Mind-Bending Looped GIFs

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Looped GIFs are like “The Song That Never Ends.”

They visually lead into and out of themselves in a dizzying, mind-blowing way that makes me so excited to be living in this new digital age of art.

GIFs are my new favorite medium because they blend design, graphics, video and fine art together — four things I am learning to appreciate more and more in my everyday life, and four things that come alive in short looped spurts of color.

Plus, the amount of time it takes to create a looped GIF explains why it most definitely deserves its own classification as a new media artform. Welcome to the party, GIFs!

1.  “pulse 6gons rainbow” by 12gon

"pulse 6gons rainbow" by 12gon

 

2.  “drawing a drawing drawing a drawing” by Tim Schreder

"drawing a drawing drawing a drawing" by Tim Schreder

3. “Rocketship 3″ by INKAXIS

"Rocketship 3" by INKAXIS

4. by Giorgio Malvone

by Giorgio Malvone

 

5. from Jami / Gemini

from Jami / Gemini

 

6. “Moon” by INKAXIS

"Moon" by INKAXIS

7. “No Wifi.” by Tyler Haywood

"No Wifi." by Tyler Haywood

 

8. “grid lines” by david whyte 

"grid lines" by david whyte

 

9. by Melhores Gifs do Mundo

by Melhores Gifs do Mundo

 

10. “The Eye” by Matthew Stone & Joe Currie

"The Eye" by Matthew Stone & Joe Currie

 

11. by Sam Alexander Mattacott

"fg_TR_01" by Sam Alexander Mattacott

 

12. “Duplicates” by INKAXIS

"Duplicates" by INKAXIS

 

13. “childhood game” by leszczynska

"childhood game" by leszczynska

 

 

14. “Mover” by INKAXIS

"Mover" by INKAXIS

 

15. “Triangles” by INKAXIS

"Triangles" by INKAXIS

 

For endless GIF art, browse Tumblr >>

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Ripples at Rest: Fredrik Skåtar’s Vibration Mirror

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Fredrik Skåtar is a Swedish architect, artist and researcher exploring and manipulating natural forms. He created his “Vibration mirror” in 2010, a polished aluminum sculpture that expanded on a previous work “Wave table.” “Wave table” was made of acrylic glass so you could see ‘through’ the water instead of your own reflection.

The ripples in the ‘water’ of “Vibration Mirror” reveal a distorted view of what’s before the piece, bringing the viewer into direct interaction with the work. Two half-circles radiate out, as if two people standing in front of the work each created their own stir in the flat mirror. The mirror’s flat top contrasts its busy bottom, where the two sets of scattered wrinkles intersect to create a loose grid of waves.

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Fredrik writes, “Shapes of water are constantly generated all around us, too fast for the human eye to perceive. The Vibration mirror is a sculpture where time has been stopped to materialize the complex geometry of intersecting water ripples.

The Vibration mirror is a part of the projects ‘From animation to sculpture’ and ‘Matter of sound’ that was funded by The Swedish Arts Grants Committee (Konstnärsnämnden) and The Royal Swedish Academy of Fine Arts in 2010 and 2012.”

 

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For more from Fredrik, follow him on Facebook, Twitter, Pinterest, Instagram and Tumblr.

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Levitating Paint: Pawel Nolbert’s Atypical

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Pawel Nolbert is a graphic artist in Poland, whose work with digital visuals began 13 years ago. He’s created for Adobe, Google, Disney, the Grammy’s and a lot of other names you’d recognize, but it’s the work he makes for himself that blows everything else out of the water.

His latest project, Atypical is a part-typography, part-contemporary art series that features bright, elegant swishes of paint dancing through the air, freed from their usual canvas prison.  Most of the eight prints have some semblance to a letter or number, which contradicts that freedom-feeling that comes from working in four dimensions. But there is one spiraling tunnel of blue-purple that really lets loose.

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Nolbert created Atypical by actually painting what you see in the works on clear plastic panels that could be twisted and manipulated. The photographs of that painted plastic were then perfected and assembled digitally so that the paint became it’s own entity — thick brushstrokes waltzing in the wind.

 

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To see more of Pawel Nolbert’s work, find him on Facebook, Twitter, Behance and his amazing Instagram.
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Carlos Ortega’s 3D Cast of Characters

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“Policarpio,” 2010: “Policarpio is a little swimmer birdie who is visited by his 3 fairy godmothers …”

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“Simon The Dog,” 2009: Character modeled for a marketing agency.

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“Erasmo the plesiosaur,” 2008: “I created this character for a challenge at 3DTotal.com. My concept was simple: to make a cute and colorful animal with a grumpy and annoyed attitude.”

"Quetzalcoatl's Rage," 2008

“Quetzalcoatl’s Rage,” 2008: “The aztec god Quetzalcoatl waking up in his stone body and facing the enemy, waiting for the battle…”

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“The Weeping Woman,” 2012: “Created for the Collective Exhibition in Mexico: “Ilustrando para” as homage for the mexican Rock Band ‘Caifanes’”

 

Spunky animals take on personalities to match in Carlos Ortega‘s 3D artwork. Similar in style to Pixar movies and Frozen, his women have teeny tiny button noses and huge almond eyes that rest in their perfect round cheeks. But it’s his birds with goggles and imagined sea creatures that open the gates of possibility.

If you’ve seen the 2012 CocaCola short, “Crabs & Penguins,” Carlos designed the soccer-playing penguins in the video!

 

See more of his work on his website, and like his 3D creations on Facebook here.

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Pascal Janssen’s Emphatic Faces

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Pascal Janssen‘s talent for creating faces makes it hard to believe he’s just 21 years old. The Belgian artist paints, draws and collages features with so much emotion in them, each face nearly breathes with life.

He mostly draws portraits of his friends, occasionally including a favorite musician. He captures those moments of revelation and self-doubt as each new set of eyebrows and chins depict them, emphasizing each subtlety to reveal a depiction truer than a photograph.

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“My artwork is mostly based on the mind of the human being, how it’s perception on the world and itself is,” he writes.

Drugs and their affects also played a role in the formation of his work. Pascal seems fascinated by the changes drugs cause within the body, and how those changes manifest themselves in expressions.

Pascal was nice enough to answer my questions about his work, and how his fixation on the face began:

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How has living in Belgium helped shape your art? What do you like most about Hasselt?

Even though art in Europe is more active in Berlin, Belgium is also a nice place for an artist. You have a lot of art schools around the country. My parents sent me to art classes since I was in kindergarden, it was once a week and just for fun.

I quit  those art classes when I went to high school in Hasselt where I did visual arts. I really loved it there and had a great time, the people there were a lot more open minded than they were in middle school. I really hated middle school, some teachers even mocked me for planning to go to art school.

But I couldn’t care less, I always wanted to be an artist. And for now I’m studying at an art college, just next to my high school. I’ve always loved Hasselt. It’s not the most interesting place in Belgium like Gent, Antwerp or Brussels. But I do feel safe there, it feels like home. I currently live at Rekem, close to the border of the Netherlands where Maastricht is located. Maastricht is also a nice place for an artist, I had my first exhibition there with 7 other artists in September 2013 and planning to have my first solo exhibition there in April 2014.

 

When did you first start creating portraits? Can you remember the first person you ever painted?

I don’t really remember, I probably had some assignments to paint or drew a portrait for school, but didn’t care about it cause I mostly just made what I felt like making. When I was in elementary school I drew a lot of cartoons but when I went to high school I mostly painted abstract paintings and when I was around 17 I really noticed I just love painting portraits.

And that was when I created “Ignorance is Bliss.” It’s a portrait of some stoner, to this day I still don’t know who this guy is but I thought it was kinda hilarious to paint him because my teachers back then hated anything that had something to do with drugs. Most of my work back then had references to drugs and sometimes it still does, because I still think it has some interesting factors like hallucinations, psychoses, addiction, depersonalisation, etc. I think making portraits is something I’ll always will love doing, but I’m always open to paint new things or use new techniques. I like to experiment a lot.

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What do you love about reinterpreting the human face over and over again?

I never thought about that really, for me it’s more than just a face. It’s like I’m painting a complete person as he or she is, or just how I feel about them. I like painting my favorite musicians. Mostly musicians who make lyrics which reflect the thoughts and feelings in my life, like King Krule, I love the melancholy in his music. But I mostly love to paint my friends, like I said it’s more then just a face.

 

How long does it usually take to create each of your works, and what methods do you use to create them?

I mostly work in a fast tempo, it takes normally about an hour or 2, depending on size of course. And if I start working on a piece, I don’t stop untill it’s finished or else I just start all over again. I learned to paint this fast because I work a lot with watercolor. With that kind of paint you have to work fast and you cannot really correct mistakes.

My technique with watercolor also had an effect on my technique with painting in oil. I use a lot of terpentine on my oil paintings just like I use a lot of water on my watercolor paintings. I also don’t use white oil paint, instead I use gesso, a thick paint you actually use for preparation of your canvas. I never really liked working traditionally I guess.

 

What’s one of your favorite quotes about art and how do you see it applying to your own work?

The quotes of Vincent van Gogh are my favorites, they might sound cheesy but I love them: ” If you hear a voice within you say ‘you cannot paint,’ then by all means paint, and that voice will be silenced.” Criticism has always motivated me even if it came from within me. I’m not trying to be a better artist then somebody else, I’m just try to be better than myself.

“I feel that there is nothing more artistic than to love.” As the romantic person I am, love has always motivated me to paint.

“I know nothing with any certainty, but the sight of stars make me dream.” I’m also a very agnostic person who will question about anything, but I do have an endless fascination for the universe.

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For more from Pascal, you can find him on Facebook, Tumblr and Behance.

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Teodosio Sectio Aurea’s Shadow Art

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An artist from Athens, Greece, Teodosio Sectio Aurea paints with shadows, using sculpture and light to recreate masterpieces in negative space. He takes us through a tour of art history using different types of sculpture to match each shadow — thick black metal for “Guernica,” a cherry blossom tree forms a woman in “Akina – spring flower,” and DNA beads form the “Vitruvian Man.”  

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How does living in Athens affect your art?

I am not an Athenian or a Greek, but a citizen of the world. Socrates, from Plutarch said Greece is the most beautiful places on Earth.

 

When did you first start experimenting with shadow art?

I started my shadows one year ago, I just sort of ”woke up” you know?

 

How long does it typically take you to work with the negative space?

Some shadows are difficult, but nothing is impossible.

 

What’s one of your favorite quotes about art?

“In art we trust.”

Who’s are a few of your art idols?
Dali, Pollock, Kandinsky, Da Vinci, and again Dali :)))))

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For more of Teodosio Sectio Aurea’s work, see his website and Facebook page.

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Meet Gabriel Folli: A French Artist Collaging Memories & Landscapes

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Gabriel Folli is a young French artist, working in nearly every medium to interpret his memories and the world around him. He’s studied at the University of Amiens, near Paris since 2009 and has exhibited in Amiens, Abbeville and Bourges, France this year.

His collaged works are my favorite — layer upon layer of photographs and color that turn memories into dreams — or nightmares, depending on what frightens you. But his portfolio finds balance in representational paintings and drawings of landscapes. They hold shadowed horizons taken from photographs, and the sheets of skyline can be rearranged and randomized to create places that don’t exist.

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When did you first know you wanted to be an artist? What’s the first artwork you can remember ever creating?

I began to draw comic strips when I was 13 or 14 years old. I wanted to make it my job. During the high school I created many drawings and installations… Concerning the works I make today, the first work which had an influence on the others was a video called Open Door, created in 2012.

 

Where do you find the images for your collages? How do you piece them together?

Initially, I take photos of landscapes which make up the background of the collage. Then, the characters are members of my family, my friends…I find theses photos in my family’s archives, most of them are old photos that come from the house of my grandparents. I give them a second life.

For the construction of collages, I look for people who can correspond to the landscape, or not, and I play with the hot colors. In my work in general, there is a strong contrast between warm colors, light and the black of darkness. I want to create idealized and fantasized situations in my collages.

 

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Do you create your drawings from photographs? What about landscapes inspire you to depict them in so many different ways?

Yeah, my drawings are created from photographs. Photography (or video) is often the basis of my work. I use photos to create drawings, paintings, collages…

The photography is not really the purpose but a way. Every drawing corresponds to a memory, and all of theses drawings create a life, my life, in which the memories are mixed and modified with time. Drawings are put on a same horizon line, in a random choice, and form a unique landscape.

 

Who are a few of your art idols, and do you think they played a role in the formation of your own work?

A lot of artists are influence my work, it’s certain! I discover most of these artists on the Internet or in books, among whom many are not very well-known. I like the work of Monika Traikov, Fabienne Rivory, Sergey Larenkov, Lorna Simpson or Alexander Schellow, one of my favorite artists. Each of them has a different approach, and in my work, I try to find new techniques to realize my memories, and at the same time, destroy them.

 

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Which places most inspire you to create your landscape works?

I like the nature more than the city. A lot of my photographs are taken in the nature, in front of the sea or forest. I am interested by the night too. The night brings me a lot of contemplation, silence, solitude. Besides, I often create during the night.

 

What’s one of your favorite quotes about art?

« Je composerai jusqu’à la décomposition. » Serge Gainsbourg

In English : “I shall compose until the decomposition”

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For more from Gabriel, check out his Twitter, Tumblr and website.

 

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Bright Expression from Ilaria Berenice

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Ilaria Berenice is an Italian artist who uses color and loose forms to express herself on paper. Her works keep their wet, fluid feel even though the paint has long been dry. Every stroke looks intentional and spontaneous all at once, and the bright colors she uses brings every shape and form to life. She studied anthropology and ethnology at the University of Siena, but didn’t begin painting until traveling through Brazil, Italy and Spain in the early 2000s.

Now, her work has has been exhibited all over Italy and featured in multiple publications including the Spanish critic Eva Minguet Camara’s 2008 book “Ilustraciòn de vanguardia” (“Art illustration”). This past summer Ilaria had a solo exhibition at one of the biggest castles in Europe, at Castel Brando, between Venice and the Dolomites.

 

When you sit down to complete a portrait, do you already have an idea of how realistic you want to convey the sitter?

When I started to make committed portraits with oil, the goal was to make them as realistic as possible. But when I make them with mixed media, I just catch the glimpse of the soul and personality of the person, or just an aspect, while playing and having fun with the sign between shadows and lights, and strangely enough they look more familiar with the sitter than the realistic ones, to me. Screen Shot 2013-10-25 at 11.48.06 AM

 

You write that your collection of “Visionary” work is inspired by momentary situations and ideas. Can you tell us the story behind your mixed media work “Venice”?

I love the work “Venice,” overall because is the latest one. Well I just played with stains of blue and green, made of pigments, glue and water, then I let the work on the easel appear whatever.  The day after I saw Venice on it, I just allowed what I saw to come out.

 

What do you use for reference in your anatomy drawings?

I did them last winter at the Brera academy here in Milan where there is a real skeleton. While for the muscles I used pictures, and for the people I used real people, all in the class of the artist and professor Maria Tcholakova.

 

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“Anatomy 9,” 28 x 42 cm

 

Which masters of art are you most inspired by? Are there any modern artists you look up to as well?

As way of proceeding I’m quite independent as I began as self taught, but I read some books along the years that inspired me a lot or that I identified with, especially “Drawing on the Right Side of the Brain” by Betty Edwards, “Concerning the spiritual in art” by Wassily Kandinsky and “Stroke by Stroke” by Henri Michaux. Then last winter I attended the Brera academy in Milan – I knew professors that are great artists also, and I got very inspired by them over all by Barbara Giorgis and Maria Tcholakova, so much that this year I will attend again.

 

When did you first think of the idea for your Stains series? What do the shapes you paint look like to you? 

For the stains I got inspired and started by artist and professor Barbara Giorgis, then of course I developed them in my own way. I just play with colours and shapes and then I let the intuition work for me.

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“Venice,” 25 x 35 cm

What’s your earliest memory of creating/painting/drawing?

My great-great father was a painter. He never taught me anything, but when as a child I went to visit, I always found a blank canvas and colors ready to be used in his studio. So without saying anything while the adults chat, I went to his studio and did a painting, it was like a mutually concealed understanding. He appreciated a lot even though he was not a man of many words. Later I stopped painting for many many years, until I started again when I lived in Brazil about at the age of 28, doing lots of collages with founded objects, and later adding on paint.

 

"Self portrait," 50 x 65 cm

“Self portrait,” 50 x 65 cm

 

For more of Ilaria’s work, check out her website, and find her on Facebook and Twitter.

 

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Meet WanderArt: Making Art Easy to Find

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Usually when I use “meet” in a things worth post title, it’s because the post is an interview and I like to feel like I’m introducing the people who were nice enough to answer my questions. But this one’s about me and a crazy goal I have to get everyone, everywhere talking about art.  That’s also the reason why the posts here have been so nonexistent for the past few weeks.

I’ve been documenting San Francisco’s public art since August in a project I call WanderArt – something that will eventually grow into an art map, detailing every public artwork, gallery, and business that features the work of local artists on their walls. Basically, it’s a location-oriented database of art in the public space, and it’ll track our changing opinions of it — something that’s now possible thanks to social technology that can lead people to every artwork outside at any given time.

There is a lot of public art in SF, and I’ve barely even started.

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But I have to document all of it because this art is so important; it belongs to all of us and could brighten any one’s day at any given time if they just stopped and looked. Which is why you’ll only be able to comment or vote on works in the database if you’ve ‘checked-in’ to the work’s location. You have to be standing right in front of it, so that every comment you see is from someone who was actually there, creating a physical (but not creepy) connection between people who have shared the experience of considering the work before them.

The photos in each database entry will be shown in order according to the number of votes they have (yay democracy!), and to balance the scales, you’ll only be able to vote on these photos while you’re online, or not checked-in — because you can’t really judge how well the photos give you a sense of an artwork when it’s right there in front of you.

 

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Basically, I just want people to see the art around them — the works they pass everyday, and I want them to be able to find more right around the corner if they ever felt the urge. Because it’s beautiful and it’s free to see.

Everything I’ve ever written, especially here on this blog, has gradually led me to this idea, and I could not be more determined to make it happen. I’m starting in San Francisco, and it’s turned out to be the perfect place because everything is just so freaking scenic all the time. Want to join? Email me to get started wandering in the Bay Area or start your town’s art documentation movement.

 

If you’re a fan of public or street art, please do any (or all!) of the following:

Check out the website // Like the Facebook page // Follow WanderArt on Twitter // Follow our Tumblr journal

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The 27 Best Breaking Bad Artworks Out There

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My eternal love for Breaking Bad has seeped into every part of my life. This is the final stage – blogging about Breaking Bad art.

I spend enough time on Reddit to know that there are some incredibly talented fans of the show. Each character depicted has so much emotion seeping out of them as we remember every tragic/insane event along the Walter White timeline to Heisenberg. And then whatever that guy from New Hampshire’s name is. Every work drawing from the power of the most intense show that’s ever existed, so that bright colors and sharp edges can get in your face, ASAC Schrader-style.

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2. Brian DeYoung‘s The Heisenbergs,” 2012

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3. Frank Tzeng‘s “Mr. White

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4. unknown

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5. Joshua Ariza’s “Mike

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6.  Mike Meth‘s “Gus”

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7. by Mike Thomas

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8. Sam Spratt‘s “Bitch”

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9. Scott Derby’s “Knock, Knock

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10. Dino Tomic’s “Walter White

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11. unknown

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12. Season 4, Episode 6: “Cornered,” by Redditor jlo2006

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13. by Tony Santiago

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14. Adam Spizak‘s “Breaking Bad – Walter White

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15. by sketchesnatched

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16. Dustin Parker’s “Walter White

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17. unknown

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18. Breaking Bad Prints by Mike Mitchell

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19. “Here Lies Heisenberg” by Glen Brogan

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20. “You Are A Blowfish” by Rich Pellegrino

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21. “Tio Salamanca” by Tom Whalen

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22. “All Hail The King” by Bee Johnson

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23. “Jesse Pinkman” by Rhys Cooper

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24. unknown

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25. “Mike Ehrmantraut” by Justin Spyres

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26. “Lily of the Valley” by Phantom City Creative

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27. “The Cooks” by Mike Mitchell

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Many of these works come from LA-based Gallery 1988′s August 2012 show, “The Breaking Bad Art Project.”

For more Breaking Bad, these GIFs should trip you out a little and there’s some incredible BB-inspired street art out there.

If you know any of the “unknowns” above, or if you know someone who’s made AMAZING Breaking Bad art, email me and I’ll add ‘em to this post. :)

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Peter Pink’s Potatoes

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German artist Peter Pink uses vegetables as a medium, turning a sack of potatoes into a tiny conceptual army that takes on stereotypes in a way that’s flippant and funny. More than stereotypes though, more like popular thought and going along with the program because of how easy it is to blend in and give up and believe what they tell you. Pink positions the miniature crowds on the streets of Berlin, the short round potatoes forever the enemy of every tall skinny cucumber.

Which is why the little protesting potatoes are the best – they hold pink flags that match their glasses and the ticket tape that separates them from the sidewalk. Last year Peter Pink even organized a potato flash mob, posting the instructions and images needed to make your own little potato people, and asking people to leave them on the sidewalk in front of a McDonald’s branch in Berlin.

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For more of Peter Pink’s work, see his website

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Dan McDermott’s Speeding Oils

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She leans forward laughing, and her hair streams behind her head like the tail of a shooting star. Dan McDermott’s paintings put the scene in fast forward, including present and almost-present scenes together in a way that makes the action look like it’s happening at light speed.

In the stiller scenes, the paint casts the image through a 1950s television screen  - almost clear but with slightly distorted colors and fuzzy details. McDermott’s paintings shows the past as we would remember it if we’d lived through it ourselves – fleeting happy memories and faces frozen in time.

Good Times I, 2010 Oil on canvas

Good Times I, 2010
Oil on canvas

 

McDermott is represented by the Mark Jason Gallery in London, which writes,

“His extensive body of work is derived from an ever expanding archive of images that for him have an emotional resonance, frozen frames from film and television that are trapped within the decades from which they were born.

The final choice of image will have gone through several layers of processed visual media which McDermott is somehow able to capture in the fast and energetic application of paint.”

 

Red Dress, 2007 Oil On Canvas

Red Dress, 2007
Oil On Canvas

Model, 2008 Oil on canvas

Model, 2008
Oil on canvas

For more of Dan McDermott’s work, see his website.

 

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