UK-based artist Chris LaBrooy continues his exploration of “auto elasticity,” continuously releasing new selections of his trippy renderings via his Instagram account.
This time around we find LaBrooy playing with the Porsche 911, highlighting the vehicle hopping forwards and backwards on one tire, bending back and forth, floating in a pool, and wrapped in an elevated cage.
My painting Blue Door involved a lot more retouching of the source image than most of my work. I saw this house (above) while driving to the Torrance Art Museum. What struck me were the geometric forms of the house and the landscaping. Returning to the spot weeks later, I realized that the image I had in my mind was not quite the same as what existed in reality. So I began the process of transforming the photo into what I wanted to paint.
Step one. I cropped the photo to fit the 14 x 18 proportion of my Home is Where the House Is series. I didn’t want to include the neighboring houses, so those were replaced by cypress trees, lopped off. The source for these was my painting, Undercover.
Step Two. Then I began cleaning up the house. One subtle change was straightening the porch light. And the office chair on the front porch had to go. I experimented with making the vent over the window square, but ultimately rejected that idea.
Continuing the rectilinear scheme, I got rid of the mailbox, and reduced the cactus to a single vertical spire. I also straightened the roofline on the right.
Step Three. Adding more rectilinear shubbery, one cut and pasted, the other based on shrubs from my Conway House painting. I also did some hedge trimming. The other houses in this series have sidewalks and curbs, so I added those.
Step Four. The blue door. I recolored the door blue for a color accent, and took the paint off the roof tiles over the porch. I also did a slight tweak to the stucco color.
Step Five. Paint the thing.
Even with all that work composing, I made a few more changes on the canvas. I added a little peep hole to the door, mowed the lawn, made the house numbers and the mail slot black, and added some trash in the gutter. I also handled the red fencess a little differently, and the sky as well.
Zoom in on the exquisite details of Jess Shepherd’s hyperrealistic renderings of fallen leaves. The botanical painter plans to create a book of her illustrations, which are all based on leaves found in different areas of London.
“The story began when I picked up a leaf from a London pavement in July 2014,” she says. “It had been scuffed by the streets of the city and was no longer attached to the tree, but blowing across the ground in the wind. Like me, it was on the move.”
Fascinated by the intricacies of each individual leaf, she created dozens of these paintings over the next few months. The resulting series “is a journey through a botanical dystopia where leaves can be found growing on the margins of human civilization,” she says.