Dystopian Death Burger

Death Burger, aka Josan Gonzalez, creates colourful, over-the-top representations of a future society collapsing, dystopian themes and imagery that could be lifted straight from a William Gibson Novel.

William Gibson predicted the internet in his novels. He pretty much invented the cyberpunk genre with his highly dystopian science fiction. I am a fan of his books, they paint such a vivid picture of an alternate present or a darkly familiar near-future. 

Gonzalez attempts to do the same with his artwork, using familiar tropes like VR, social media, substance abuse and gang warfare then ramping it up to the extreme.

Violence and colour are recurrent and his character design and use of colour are reminiscent of Moebius, particularly Jean Giraud's work in those comic books. 

Mind blowing attention to detail and an incredible ability to tell a rich story in a single image has lead Josan Gonzalez to stand out. His Instagram is one of my favourite art accounts to follow as he regularly posts works in progress #wip giving you a chance to analyse his process. 

Gonzalez has just released his latest collection of drawings in the form of a new book called "The Future 2". I pre-ordered it at the back end of 2016 along with "The Future 1" and can't wait to receive it! 

I'll be sure to post up a little review when they arrive.

Visit Robotcity16 to buy some books

Raymond Lemstra - Japanese inspired art

I first stumbled across Raymond Lemstra's work 2 or 3 years ago on instagram. I don't exactly remember how I was introduced to his work, whether it was via NoBrow press's feed or if it was just a suggestion while browsing but whatever it was it stood out.

A mixture of classical anime styling with a European twist, his work is mostly character based but he also plays with comical, surreal scenes. Japanese humour seeps into his pictures, in the shading, the abstract shapes and the facial expressions on show.

 

Check out some of his "Crumbs". These characters are created using balls of clay and other inanimate materials which he then sketches, paying particular attention to the intricacies caused by the play of the light on the various textures he moulds.

I would count Raymond as one of my biggest contemporary influences. I've read in interviews that he enjoys the monotony of creating such detailed pieces, something I relate to completely.

 

There's nothing better than letting loose on the page, painstakingly producing line after line, not quite knowing where the finish line is. It's about getting lost in the work, which you absolutely get not only drawing an intricate piece, but by looking at it. You get that in droves with Raymond Lemstra.

Visit his website here