There is no shortage of abstract works available on the various print on demand sites; even within the world of “fine art” the ‘why’ and ‘how’ of which works are celebrated can seem rather arbitrary to both those on the ins and outside of the art world. What then is the criteria by which we should judge these works in general or this work specifically? What makes this work worth purchasing or the artist worth supporting?
One of the main questions when looking at an abstract work, specifically a non-objective (not representing any discernable forms) are the context, colors, shapes, and overall composition. Of these ideas the context is usually the most nuanced and often, even among the experts, neglected aspects of an abstract work. Has this been done before/ is this work an expression of a new idea such as the first monochrome painting or the first “happening“. Since Modern art displaced classical art, and to an extant representational art within popular taste the idea and intent of artists, and the context of their formation, has supplanted skill as the metric with which art is judged; at least, that is suppose to be the idea, but does the 100th Rothko or Pollock really expressing anything new? This is all a bit of a tangent, because “Tube’s of wonder” isn’t anything new; it doesn’t pretend to be. The other criteria with which abstract work is to be judges is what ought to be brought to bear upon the design and based on those criteria this design does quite well.
The colors of the work are pleasant- perhaps, Miami/ LA, 90’s, or tropical. The gentles washes of color contrasting nicely with the hard edges of the shapes. The shapes themselves offer interesting easter eggs for those that care to look and suggest: Klimt, Miro, futurism, and horror vacuii in various places. The composition is both tight while managing a loose feel in terms of composition and is again reinforced by the contrast of color and form. Lastly what is interesting about the piece is the use of circles and lines, specifically the fact that if you put a number of circles above a line you will end up with overlapping faces with shifting expressions depending upon how you pair the circles. The image is good at a distance and more interesting and nuanced from up close. It is busy without screaming for attention and still maintains a certain level of harmony overall and for this reason, rather than some context dependent or contextual statement, “tubes of wonder” serves as an excellent example of a (non-objective) abstract work within the context of apparel.
Design by:JettJag Price: $22.88 @ Redbubble Colors: Black, Dark Grey, Dark Blue, Tan, Brown
Rabbits as a symbol haven’t really gotten their due in recent years. Owls had their time in the mid oughts, lions and wolves seem to be in ascendance, but it’s been a long time since “Watership Down” and Peter Rabbit were made or were culturally relevant. In spite of the fact that the color pallet is of the moment, this design seems to be like a bit of a throwback to the times in which the topic of animal testing got the same, if not more coverage than that of global warming. Everything is plastics and carbon now. It’s weird to age and wonder how, why, and when societal priorities shifted.
The image is interesting in that the colors seem Aposematic (warning colors); There’s something sickly and yet violent about the combination. The pink is vibrant and lively, as if expressing joy in the clinical and dangerous nature that this particular hue of green would seem to represent. Coupled with the sharp edges of the geometry, the running zoetropic progression of the rabbits, there’s something sinister about this design that makes it interesting.
Plenty of images of the death’s-head hawk moth as it stands; the reason to highlight this one in particular is the inclusion of the body-horror elements i.e. melty flesh + eyeballs. It’s very Hellsing, but the geometry gives it a more modern character. The skulls on the tips of the wings area a a nice touch; they look more like something you’d see on the prow of a ship than anything you’d expect to find on an insect. This image is over the top in the best possible way; The skull with the saliva between its teeth, the ol’ eye of Sauron, the thorax looks more like the underside of some goth kid’s claw ring than a section of an insect, and then there’s the demonic horns up top. This image is ‘everything and the kitchen sink’ in terms of demonic imagery. Without the geometry to level it out this image might not work. The choice to shade the triangle adds depth, as if the moth were flying over a chasm instead of pinned to the wearers chest… it’s clever. The image does a good job of balancing detail and negative space. The image works at a distance and close up. It’s a solid piece that says “demonic” without being off putting, which isn’t always the easiest thing to pull off.
Design by:vonKowen Price: $22.00 @ Threadless Colors: Offered/ works in 24 different colors
The synthesis here of Hollywood Glamour via a photo of Lauren Becall, and the deployment of Body Horror is inspired. Why isn’t this a film? Among the tinfoil hat communities of the internet there’s all this talk of Lizard people running around and pulling the strings; why not take that idea and place it in the romanticized and glamorous context of prewar Hollywood? Familiarizing the public with the censorship that the Hayes Code represented and the misguided steps that the temperance movement took could be explained and dramatized in a powerful way that could illustrate the dangers of conservatism and censorship within society.
The image itself is violent, somewhat seductive, and overall unsettling. The use of the pink lends this a dreamy danger, sort of a siren’s song component. The eyes though are nearly reptilian in their blueish green. The disdain and question written on the actresses face is one of asking: “do you still want what I represent”? The evil in the glamour, the colored highlights, this is a black and white image of the past that grows into ones nightmares. It’s horrifyingly beautiful and the story it suggests: a synthesis of the gilded age and the golden age of practical effects is a compelling idea.
Bones and Botany works in that it is pleasing at the macro level and curious upon closer inspection. The saturated colors and bold outline means you can see what the design fundamentally is from across the room, and upon closer inspection you get to notice the charming little details that E Moss has left: the hummingbird, the bat in the ribcage, the mouse on the elbow.
It’s surprisingly difficult to pull off a design that will work with any color tee, admittedly some color combinations are clear standouts, but the predominance of white within the skeleton, the breadth of color within flora and fauna, and the overall saturation come together to pull it off.
Certain elements such as the flower in the pelvis or the moth on the skull shouldn’t work, but the multitude of detailed anchored by the central form somehow allow them to exist without drawing attention; when you finally see them it’s less a compositional choice to be evaluated than an intriguing surprise of “how was that not the first thing I noticed”, sort of an easter egg effect squeezed into a compact composition.
The design is noteworthy in that it doesn’t fall into the common vanitas category of skull/ skeleton images; the plants and animals seem more like something drawn by a naturalist than a dour painter of dead things in a dark room, which is. refreshing
Designed By:E Moss Best colors: Redbubble offers 16 colors, any will work for this design. Cost: $19.90 @ Redbubble