NYC-based artist Hayden Zezula mixes captivating visuals with the uncomfortable. His intention is to merge visually pleasing animation with creepy imagery, creating loops that toe the line between interesting and uncomfortable.
Zezula a.k.a. Zolloc’s website is filled with electric oceans, gravity-defying sludge, people made from bubbles, and worlds within worlds within worlds. Zezula’s eye for color and talent at creating perfect loops make each GIF a miniature journey into his daydream-fueled mind.
The online identity of Boston-based artist Mike Parisella, Slime Sunday’s motion graphics and collages are a view into an alternate reality – where disembodied heads and digital babies play in a sea of saturated color, and endless shapes find joy in repetition.
If trippy, outlandish digital visuals are your thing, then Slime Sunday is a name you need to know.
Russian illustrator Uno Moralez’s work is eclectic, to say the least. Uno’s work looks like the byproduct of pixel art and manga, a dark and mysterious world where the most insane things can happen. Unquestionably menacing and monstrous figures lurk smiling in shadowy rooms, bodies and objects arranged in inscrutable ways that nevertheless imply an unimpeachable in-story logic. Uno’s work is mysterious. Every single image is a short story that deserves contemplation, and because of this, it is extremely entertaining.
Frank Synowicz is a multidisciplinary new media/digital artist and designer working with computer graphics, visual effects, video, animation, digital audio, virtual reality, and traditional painting and drawing.
Currently at Pixomondo, Los Angeles, Synowicz brings together his fascination with technology, art, science, and film to solve creative puzzles and develop new techniques in the art of digital image construction.
Animator Geoffroy de Crécy created a series of short animated loops depicting how deserted spaces and abandoned automated landscapes, left to perpetually continue in their motions, would continue to live on. Focusing on the machines we have created to make our lives easier, the machines in their loops seem very obsolete, almost sad looking.
The rolling sushi counter presents us with a continuous flow of perfectly presented plates, waiting to be picked up by the absent customers. Elevators and escalators are plagued by cans that keep them going, whilst the ski lift moves in circles, waiting to transport someone to the untouched ski slopes. These empty places show just how we have defined the landscapes and how redundant they would become without us in it.
Alexandre Diboine is a 21-year-old French concept artist, self-taught in illustration. After taking 3-D classes for a year and a half in Paris, Diboine realized it was something he didn’t enjoy, and returned to 2-D illustration. His current goal is to work at Pixar Animation, Walt Disney Animation, or LAIKA. Diboine’s art is cheerful and vibrant. Like Moebius, 90s anime and Disney got together to make amazing pictures.
New York based Benjy Brooke is a multi-faceted artist who is constantly creating. A graduate of the University of Pennsylvania in fine arts he directs, animates, and illustrates. His work is graphic, colorful, fun and draws inspiration from such varied places as 1950s Cadillac concept cars, Moebius & Jodorowsky’s The Incal, The Neverhood, Katsuhiro Otomo’s Akira, and the entire indie comics scene.
Saiman Chow is a multi- disciplinary artist, director and designer. Born and raised in Hong Kong, he immigrated to Los Angeles with his family at the age of 15. After graduating from Art Center College of Design in 2001, Chow gained early attention and accolades for his Art of Speed animation commissioned by Nike. Constantly re-inventing his approach, Chow’s work spans media and takes a variety of forms, from intricate stop-motion animations to digital illustrations and fine art.
Mattis Dovier has a talent for creating GIFs that are pleasing to the eye but have a habit of turning your stomach ever so slightly. His eye-popping GIFs are on another level.
Dovier works in an unmistakable style, one he described as “stripped of unnecessary details.” First Dovier draws each frame by hand in low resolution. Then he fills in shadows with pixel grids converted in Photoshop’s bitmap mode. The end result is somewhere between numeric and classic aesthetics like engravings, as well as the screentone process characteristic of manga.
Mason Lindroth’s work exists somewhere between the realm of a hellish nightmare, surreal art, and collages. It’s all those things, and also none of them. Lindroth’s repeated animated aesthetic is wholly unique. The objects themselves are grotesque, ranging from eerie blank-staring faces to vintage stock-like footage of families. Nothing blends together, it becomes a distorted conglomerate of gif-able lo-fi clipart.
You can recognize Lindroth work due to the sparing, dotty Apple II-like visuals and use of claymation. The aesthetic compliments Mason’s interest in warping the ordinary: black-and-white is the status quo, whereas color can punctuate a peculiar presence with immediacy.