Oakland-based artist Josh Keyes has set the art world on fire with his controversial blend of man and nature. Born in 1969 in Tacoma, Washington, and trained both at the School of the Art Institute of Chicago and later at Yale University where he received his MFA in painting, Keyes has an impeccable eye for nature, and it comes out dramatically in his work. His paintings blend real and surreal elements into one ever-growing style that distinctly resembles natural history museum dioramas and cross-section illustrations from vintage science textbooks.

The juxtaposition of man and nature has its reasoning and Keyes says that he tries to convey a message:

Environmental awareness and the common space we share with different cultures and organisms, is the backbone that supports the different themes and ideas I explore in my work. It is in places in the world where the human touch encroaches on the natural environment are of great interest to me," says Keyes. "Areas where rain forests collide with the logging industry or the fracture in our own back yards where a sidewalk or street ends and an ecosystem or biome emerges. Areas where cement meets rugged soil and grass, or a displaced bear roams far from their natural habitat. It is in the ever-growing human fingerprint that calls into question the value and importance or lack thereof that we assign to the natural surroundings.

When asked about the inspiration that Keyes uses for his paintings, Keyes had this to say:

The fundamental core of my inspiration is a combination of interests that I have had since childhood. My curiosity and admiration of the biodiversity and complexity of the natural world has if anything increased over the years. Reading Ernest Callenbach's Ecotopia and Rachel Carson's Silent Spring many years ago also helped to shape my ideas. This has been mirrored with my concern for their protection and sustainability. These concerns have led me to investigate a wide variety of topics that weave through current environmental issues, ethics, global politics, and try to make sense of a fractured and distorted account of world history and events. In terms of personal style, I have always been attracted to the visual display and interpretation of information. I have a fascination with the scientific or objective view of the world, the way in which it seems to fetishize animate and inanimate things in the world. The way it separates the observer from the observed. It is this separation that interests me. I personally believe that this way of seeing and thinking about the world is the root cause to many of the problems and issues that we are faced with today.

The mixing of evolved thought and inspiration doesn't always happen overnight for Keyes:

The idea or concept that evolves into a painting or sculpture can happen in a moment, or over many years of thinking and pondering. Something Mel Bochner, artist and critic, told our critical issues class at Yale was, "Artists get some of their best ideas when they are not working." I think there is a lot of truth in this. Sometimes when I am trying too hard to come up with an idea nothing happens, then, while walking through the produce at a farmer's market I will be struck as if by a lightning bolt with a clear idea for a painting or sculpture. Another element is timing. Some of the ideas I have are sitting in the pages of my sketchbook waiting for a specific technical development in the way something is rendered like water, or I need more clarity and objectivity of an idea.

(quotes are excerpts from a 2008 interview with Syed Syahrul)

Keyes' work suggests what the world might be like in a future where current global warming predictions have come true or an untold disease has wiped the planet clean of humans but left all their belongings behind. His paintings portray a world as told by Richard Matheson in his book, I Am Legend, and do it much better than the movie adaptation ever did.

We look forward to seeing future works from Keyes and we're sure that you'll feel the same. But, in the meantime, if you're interested in purchasing any of Josh Keyes' prints, you can do that HERE.

(all images used with permission. © Josh Keyes, 2009)

[via Josh Keyes]

With lazy arcs on the clean canvas, this little roadster that could left its mark on the art world in this piece entitled "An Expression of Joy." After hours of painstakingly driving the car to and fro in exacting patterns to get the paint thickness just right, we see a car that has become more than just a car, but partially an artist itself. Dennis Hopper was there, which seems oddly appropriate. Below, we've got the press release and a short clip showing how the whole thing went down.

Unique Performance: Artist Robin Rhode, Director Jake Scott and the brand new BMW Roadster. Imagine a canvas nearly as large as a football field. On it bold, swirling shapes in primary colors like red, yellow and blue. As the eye uncovers the rhythm of the lines, curves, circles and color splotches, something else is revealed: these forms must have been created by tire treads! A work of art like no other, created by an artist like no other - the new BMW Z4 Roadster.

Over the years BMW has offered great contemporary artists the chance to express themselves on the surfaces of a variety of the marque's sports cars. However, the art performance created by the young South-African Robin Rhode daringly moves beyond the concept behind the BMW Art Car Collection. Here the car is no longer just a stunning model, but itself executing artist. "This work is an expression of painting in action - my hope is to communicate the power and thrill inherent in the creation of art", says Rhode. "For me, the use of an untraditional paintbrush like a high performance car is a great way to investigate the relationship between emotion, technology and industrial creativity." The development of the picture, this process of formation itself is as important as the completed oeuvre. For this reason the Z4 performance is suggestively titled "An Expression of Joy".

The powerful and vibrant images created by the treads on the huge canvas appear dynamic and spontaneous, as if created out of the whim of the moment. Yet each movement had been painstakingly planned to the last detail and was the result of an immense technical effort. Unlike the legendary "action paintings" created by Jackson Pollock nothing was left to chance. As an artist working at the cutting edge of performing and fine arts, Robin Rhode is an experienced planner and capable of organizing and directing a large technical staff, but with "An Expression of Joy" even he broke new ground. This in every respect extraordinary work of art that was to emerge in the huge Downey Studios of Los Angeles offered another equally challenging aspect. During the creation of the painting, prize-winning young director Jake Scott intended to film the complete performance for the TV campaign accompanying the new Z4 Roadster's launch in 2009.

But how was the palette of colors actually applied to the tires? How was the BMW Z4 harnessed to Robin Rhode's specific concept? And how was Jake Scott able to transform this dynamic act of creation into an equally fascinating film? These questions reflect how many demanding aspects needed to be dealt with in order to create a performance blending high tech and artistic vision. Obviously, in the beginning was an idea. The idea was to present the innovative next generation of the BMW Z4 in a totally unusual location. "One source of inspiration was the seminal work of Gerhard Richter's series of paintings 'Red, Yellow, Blue' made in 1973 for the company headquarters in Munich, Germany", Rhode explains. Another reference point were the experimental optic animations from the 1920s and German Expressionist Film. "The tracks left by the tires combine the two-dimensional plane of the picture with the three-dimensional space of the actual driving experience."

The artist began by sketches, using black finger paints on paper to draw an outline of the general shapes and rhythms. Then Robin Rhode created the visual equivalent of a storyboard with the exact details of each driving sequence and the specific color used. Of course, the driver received a copy of the storyboard that he was able to prop up in the cockpit. Since it was nearly impossible to follow the development of the emerging tracks, given the sheer size of the pictoral dimensions, Rhode also furnished a miniature of "An Expression of Joy" complete with two models of the car in order to simulate driving maneuvers in advance of the actual "paint drive".

The art performance was a challenge for the driver as well as driving the MINI for the movie "Italian Job". Accustomed to taking high performance cars to their limit on test tracks, here he needed to follow the exacting choreography established by Rhode. Which meant executing the same moves back and forth several times if the artist wasn't satisfied by the specific color intensity, and yet keeping the tracks of the treads perfectly aligned each time. Each of the colors was individually applied through remote-controlled nozzles mounted near the axles of the roadster. To avoid an accidental mix of the colors due to residue in the treads, new sets of tires were constantly being rolled in and carefully exchanged, a feat of logistics in itself. From time to time a sock-clad Robin Rhode literally stepped into the picture to pour on more color, where necessary adding generous drips. An alluring aspect accidentally created by this motorized paint brush were the sprays and splotches of color highlighting the wheel casings of the Z4, resulting in visual traces and echoes of the dynamics of the composition. The monumental canvas itself was composed of individual segments that had been attached together to create a surface measuring 100' by 200' and thus allowing the driving and painting process to be sequenced in quadrants. This solution also benefits all future storing and moving of the artwork. Segments of the spectacular giant picture will be on the road in 2009, first to be shown at the Detroit Motor Show.

Robin Rhode and his team executed the project in 12 hours. That was also the time frame essentially allotted to director Jake Scott and his crew in which to shoot the Z4's chromatic driving movements. The challenge was that each segment of his film for the BMW campaign needed to be "just right" the first time around. The usual number of takes just would not possible for this kind of recording. Scott, who is just wrapping up his first feature-length film, has won numerous prizes for music videos and commercials. The cinematographer was able to draw on his experience documenting rock concerts in order to deal with the singular character of this particular live performance. The dynamic undertaking of a car painting was captured with 45 simultaneous camera angles. So, while Robin Rhode was watching the color choreography unfurl, Jake Scott kept a critical eye on all the many screens monitoring the camera movements. "It is always a gift for a filmmaker to watch an artist of any discipline work", Scott recounts. "It is creation at its core and I have been privileged to observe musicians, actors and now a significant, young artist. I am excited to showcase the rarely seen link between art and technology in action."

The huge space of the studio and the giant dimensions of the lowered tub in which the canvas had been spread out, offered exciting vantage points for the placement of the cameras. At the same time it also meant coordinating two highly complex and diverse projects - the actual art performance and the shooting of a TV commercial - down to the last second. But despite this double challenge demanding concentration and precision timing the atmosphere surrounding all the teams involved was relaxed.

Certainly, Dennis Hopper seemed impressed by the easy, professional low-key air of the project. The enigmatic movie star was there on assignment from "Vanity Fair" to take pictures of "An Expression of Joy" as a work of art in progress. The former "Easy Rider" not only shares a passion for wheels, but is considered to be one of the truly serious, important art collectors of Hollywood.

Robin Rhode
The artist, who was born in 1976 in Cape Town and now lives in Berlin, has made a name for himself in the past few years on account of his distinctive artistic work. His oeuvre centres on performances that have evolved from his experiences as a high school student growing in the Johannesburg suburbs, supplemented culture (sports, music, and fashion) that he likes to mingle with the process of "making art". In 2001, Rhode was nominated for South Africa's FNB Vita Art Prize. He has been included in several group exhibitions, including Dislocation. Image. Identity. South Africa, Centro Cultural de Maria, O'Porto, Portugal (2002); Shelf Life, Gasworks Gallery, London, England (2001); and Juncture, The Granary, Cape Town, and Studio Voltaire, London (2001). His solo exhibitions include Fresh: Robin Rhode at South Africa National Gallery, Cape Town (2000).

Jake Scott
The Englishman Jake Scott, born 1965, has been directing commercials and music videos for over 15 years, during which time he has accumulated stellar recognition in his field such as numerous MTV awards, a Grammy Nomination, an Emmy and the Grand Prix at Cannes. His clients include renowned brands like Adidas, American Express, AOL, Coca Cola and JP Morgan. The list of artists he has worked with also reads like a Who's Who of the music industry: REM, U2, Smashing Pumpkins and George Michaels. Jake Scott, who is the son of famous director Sir Ridley Scott ("Alien", "Blade Runner", "Gladiator") has just completed work on his second feature-length film, "Welcome to the Riley's" with "Sopranos" star James Gandolfini.

[Motive and SlamXHype]

DEARBORN, Mich., Dec. 26, 2007 - Ford Motor Company and U-Haul launched the industry's first fleet of vehicles painted with Ford's environmentally responsible new technology, which reduces greenhouse gases by 15 percent and cuts Ford's production costs.

More than 200 Ford E-Series trucks painted with this new technology were delivered to U-Haul facilities around the country. U-Haul began renting the units, tagged with eco-friendly decals, to customers this week.

The technology combines an advanced chemical formulation of high-solids, solvent-borne paint with an innovative three-wet application process that requires a smaller, less expensive and cleaner paint shop than traditional automotive paint facilities.

In addition to reduced CO2 emissions, the new technology reduces VOC emissions (volatile organic compounds) by about 10 percent. The company estimates it can save approximately $7 per vehicle by cutting the time it takes to paint a vehicle by almost 20 percent as well as reducing the size of the traditional paint shop by nearly 15 percent.

"Painting vehicles has traditionally been one of the auto industry's biggest environmental challenges," said Mary Ellen Rosenberger, paint manager of Ohio Assembly Plant where the new technology was launched. "Ford has found the solution. It's environmentally sound. It's cost-efficient. And it produces beautifully painted vehicles with long-term durability."

Ford's new high-solids, solvent-borne paint formulation produces fewer VOC and CO2 emissions than do water-borne and current solvent-borne paints. Because the new formulation contains more color pigment, it requires less paint to cover a vehicle than water-based paint. Furthermore, the new technology allows for three coats of wet paint to be applied to the vehicle one on top of the other, without drying between coats. This eliminates the prime-coat application and its related processes, which means a smaller, more efficient paint shop.

Furthermore, there's no need for an air-conditioning process or an additional low-temperature oven, which are required in water-borne paint shops to evaporate the water from the paint.

The paint formulation contains new polymers and other additives that prevent running and sagging during the three-wet application process. And Ford's laboratory tests show the high-solids, solvent-borne paint provides better long-term resistance to chips and scratches than does water-borne paint.

Said Dean Cerimeli, U-Haul's director of Truck and Trailer Product: "When it comes to the environment and sustainability, we are happy to partner with Ford in this important field test. We believe this is the most environmentally responsible way to paint vehicles. And we applaud Ford for leading the industry."

In June, Ford won the "Best Technical Prize" for its new paint technology at SURCAR: The International Conference on Automobile Body Finishing in Cannes, France. [Source: Ford]

Heico Sportiv Unleashes Beastly S80 T6 HPC at 2007 SEMA Show

Las Vegas, NV (October 30, 2007) - The lights of Las Vegas reflect flawlessly in the gleaming aluminum paint of the Heico Sportiv S80 T6 High Performance Concept (HPC). Being shown for the first time in North America at the 2007 Specialty Equipment Market Association tradeshow in Las Vegas, NV, the S80 T6 HPC is a literal reflection of power, sophistication and athleticism as can be seen in its unique 7-layer "aluminum effect" body paint. But the S80 T6 HPC is more than just a pretty face. It's a true example that a powerful luxury sedan can also be sensitive to the environment.

"Heico Sportiv is honored to once again be working with Volvo Cars to build the exciting S80 T6 HPC for this year's SEMA show," said Holger Hedtke, President of Heico. The 2007 show marks the second year Heico Sportiv has partnered with Volvo Cars to create a SEMA concept. This year, Heico shows its mettle with the S80 T6 HPC and the C30 Surf Pattern (see separate release). "The S80 T6 HPC is really where we put all our efforts this year," continued Hedtke, "It is our most advance concept to date and it's one that Heico is extremely proud of."

But getting to Las Vegas wasn't easy. The project began as the curtain fell on last year's SEMA show. Behind closed doors Heico executives sat down to put to paper the 2007 concept. The result is a Volvo S80 T6 that has been tuned to an amazing 350-horsepower while running on bioethanol fuel.

When the S80 arrived at Heico's shop in Weiterstadt, Germany in early 2007, Holger and his team knew they had their work cut out for them. The S80 began life with a 3.2-liter inline-six engine and front-wheel drive because production had yet to begin on the Volvo S80 T6, which has standard all-wheel drive. A new T6 engine was delivered from Sweden and work began in earnest.

Performance

The first order of business was to make a significant increase in horsepower. The standard Volvo T6 engine produces 281 horsepower, which is enough to move the S80 with spirited ease. But this is a SEMA concept and a significant bump in horsepower and torque were a necessity. Once the engine was modified to run on E85 ethenol, Heico turned its attention to maximizing power with high-performance engine software, a new intercooler and a stainless steel racing exhaust system. The end results were impressive: 350 horsepower at 5,500 rpm and 405 lb.-ft. of torque between 1,500 and 4,000 rpm. The Heico S80 T6 HPC is estimated to reach 62 mph in just 5.8 seconds.

But getting that power to the ground required extensive work. As the standard S80 3.2 is a front-wheel-drive car it was determined that to truly explore the vehicle's potential all-wheel drive was needed. Enter Volvo's renowned Haldex All-Wheel-Drive system with Instant Traction. The system continuously routes power to whichever wheel has the most traction and Heico modified it with heartier gears to handle the enormous amount of torque.

Stopping power is provided via a 6-piston braking system with custom blue-painted calipers and high performance brake pads. Volvo's ABS and electronic brake distribution systems are fully functioning. Large 13.9-inch disc brakes reside in custom forged alloy wheels measuring 9-inches wide and 20 inches in diameter. The specially developed Volution X wheels are wrapped in aggressive 255/30R-20 Continental tires.

The Heico S80 T6 HPC rides on a chassis that is 1.5 inches lower than Volvo's set ride height and the sport-tuned suspension features firmer springs and struts at all four corners. "We aimed to tune all the components to achieve a dynamic yet harmonious ride. In other words, a true sports car experience without losing the luxurious and comfortable touch that is the hallmark of the Volvo S80," noted Hedtke.

Interior

Hedtke's comments about the S80 T6 HPC's ride and handling translate directly to the interior of the car. "It was important to communicate the intention of this car as a true sports car, but one that is also luxurious and comfortable," said Hedtke. Starting from the standard S80's innovative center console, Heico's interior designers decided to sweep the arc throughout the length of the interior, creating four sport bucket seats. The heavily bolstered thrones are separated by the console that is wrapped in stunning silver aluminum carbon fiber.

Paying homage to Volvo's use of blue in its logo, nearly every surface that isn't aluminum is swathed in soft Mystic Blue leather, including the headliner, instrument panel and door panels. The rear seats have been completely redesigned to accommodate the center console and the front seats have thicker side and thigh bolsters. Fully integrated controls for the rear seat entertainment system, cup holders and storage bins are all found beneath the gleaming aluminum "floating" center console. Interior trim panels and accents are bathed in silver carbon.

The S80 T6 HPC driver will find a thick, comfortable sport steering wheel with which to unleash the vehicle's power. The sport pedals foot rest and door pins are all formed from billet aluminum. The crowing touch is the Mystic Blue glowing door-sill panels.

Exterior

Refined, elegant and stylish are all words that have been used to describe the Volvo S80. With Heico's attention to the car's exterior, words such as powerful, imposing and dominance may also be uttered when the car makes its North American debut at SEMA.

"Our goal was to take Volvo's elegant design for the S80 and make it really stand out at this year's show, said Hedtke, "That's not an easy thing to do in Las Vegas, but everyone who sees the car agrees that it's truly striking."

What first leaps to the viewer's attention is the striking "metal effect" paint scheme. Seven coats were applied over a two-week period and the process allows for no re-shoots or touch-ups making the Heico S80 T6 HPC truly inspiring. "We're hoping that those in attendance at the SEMA show will drop by the Volvo booth to take a look at this car," commented Hedtke. "Since there are so many custom paint jobs done by truly talented artists from around the world represented in Las Vegas, we feel the S80 T6 HPC will be truly appreciated."

Nearly every panel of the Heico S80 T6 HPC was re-fabricated. The S80's front clip was replaced with a more aggressive nose that incorporates ultra-slim LED turn-signal indicators, a deeper front air dam and wide intake tunnels for improved airflow into the intercooler and brakes.

The new soft nose seamlessly blends into the aggressive wheel arches that hug tightly around the custom 20-inch wheels and tires. Deep side sills beneath the doors lend to the aggressive stance of the vehicle and assist in aerodynamics. A completely new rear bumper cap features slender rectangular exhaust ports and carbon fiber inserts.

About Heico

Heico Sportiv was founded outside of Frankfurt, Germany in 1995. It has grown to become Europe's leading Volvo tuning firm. Heico has the longest running history of endurance racing featuring Volvo cars spanning 13 years. This serves as the engineering basis for offering high-quality components for Volvo road cars. Please refer to www.heicosportivna.com for more information.

About Volvo Cars of North America (VCNA)

VCNA provides marketing, sales, service, technology and training to Volvo automobile retailers in the U.S., Canada, Mexico and Puerto Rico. For more information on specific production vehicles or special vehicles please refer to the Volvo Cars of North America, LLC public relations website at: http://www.volvocars-pr.com/.

Many of the Jalops worked as house painters during their formative years. And of those, at least one was involved in an accident involving a ladder, physics and a five-gallon tub o' latex. Paint, it's said, knows no loyalty. – Mike Spinelli

Azarado? [U ba via Skoopy]

Related:
Let that Be a Lesson: Revenge [internal]

We couldn't imagine how much it cost for the UK's Mansory to provide a middle-eastern client with this matte-finish Rolls-Royce Phantom. But after seeing all the new flatness that showed up at SEMA last year, we knew something like this was imminent. We just think to follow the money all the way to the UK. Note our mate Nick Hall on the right, angling for a test drive. – Mike Spinelli

Related:
SEMA Show: Matte Is This Year's Black; The 2004 Mansory GT 63 Bentley Continental GT [internal]

Let's face it: Twenty-odd years hence, the 1985 Corvette's rose isn't exactly dewy in the best of conditions. In fact, maybe this eye-tingling art-car sendup is a response to how poorly the '85's aged. At least its owner's priorities are in order.

"Women love this car. Every time I stop for gas, women come up to me. I could have as many girlfriends as I want — old ones, fat ones, anything."

Though, we'd imagine, probably not red-green colorblind ones.

Hall of the World's Ugliest Corvette [via Motorpulse]

Related:
How to be an Ueber-Wally: General Carbuncle; Trucks and Buses in Pakistan [internal]

Billionaires turned off to the Maybach's dearth of color choices finally have a new tone, and it's not kandy orange peel (sorry Mr. Barris). It's a pearly white paint scheme, which on a giant German car is harder to pull off than an iron bracelet from the ankle of Ilsa, Tigress of Siberia. Nonetheless, we'd imagine there are at least some Maybach buyers who want to recapture some of the lost Liberace mojo. To them, we say godspeed.

Related:
More on the Maybach [internal]

Pinstripers are a strange breed. They're steady as surgeons, with the spacial awareness of a 3D camera. Their capacity for close-work would make a Swiss clockmaker smash his cukoo in envy. Only check out this video of some of the top pinstripers in action if you've got 10 minutes to spare and a high tolerance for tedium, or at least have a deep appreciation for tiny brushes and real flame surfacing. [Thanks to Scott for the tip.]

Related:
When Airbrushing Goes Bad [internal]

We'd never have pegged the folks at BMW for fans of the rat rod sensibility, but according to Australia's CARSGuide, BMW is working on special matte finish paint for its cars. BMW project manager for the Z4 Coupe told the Aussies such new paint will "turn the car's surfaces into sculpture." It'll also make polishing a moot point, and "rewrite the rules on car styling and presentation." The only problem, according to the project manager?

"We have no idea yet on how we will be able to repair it."

BMW Thinks You'll Take a Shine to This [CARS Guide]

Related:
Nissan Develops Self-Reparing Finish [internal]

Dear sweet Lord, what the hell is going on here? If you can't tell by squinting at our pixelated photo we'll give you a hint. This is called the VWgina. Um, yeah. At least the National Christmas Lighting Association won't call us gay anymore. Click on the link to see the full, NSFW version if you're really interested in seeing porn painted on the hood of a VW Bug. For more NSFW, check out the re-design on our sister/brother/slave site, Fleshbot.

VWgina Paint Job [Dave's Daily]

Related:
The National Christmas Lighting Association Hates Us, The National Christmas Lightning Association Hates Us, Part II [internal]

Fans of colloid chemistry (c'mon, who isn't one?) will be particularly psyched by the work of a team of German researchers. They've produced new particles that could lead to car finishes (or cosmetics) that can change color based on temperature or humidity. We'd imagine the allure of such a product would be lost on our SoCal audience, but us four-season types could soon have a new way to lose our cars in parking garages.

Car paints changing with temperature [ZNet via Cars Cars Cars]

Related:
Nissan Develops Self-Reparing Finish [internal]]

Nissan Motor announced it's devised an automotive clearcoat that repairs scratches on painted car surfaces, including those created by fingernails, car-washing machines and vengeance. The company's "Scratch Guard Coat," which is effective for three years, contains an elastic resin that helps not only keeps scratches superficial but also will return to its original state "anywhere from one day to a week, depending on temperature and the depth of the scratch," a company release said. No word yet on when the product will be available on Nissan cars.

Related:
Let that Be a Lesson: Revenge [internal]