Tomorrow people all over California will not only be voting for who they want to be emperor, but also on a number of propositions for a wide range of laws. One that has provoked lots of heated debate is Prop 37, which is all about making the labeling of genetically modified foods mandatory. Street artists all over the state have been passionately fighting to get the bill passed and, with the help of the i am OTHER series Voice of Art, have created a set of videos to get their point across.

The most recent focuses on murals and their immediate visual impact on the community. Following artists Werc, Vyal One, Griffin One, Ernest Doty and Mear One as they create their pieces as well as highlighting the issue at hand; the documentaries are a fascinating watch for anyone even remotely interested in either art or politics. As a non-Californian (and non-American) my opinion has little to no value, but is it not natural to want to know what exactly you’re putting in your body? While this might be just a state wide thing for now, voting yes on Prop 37 is a step towards achieving transparency in the food industry and making the planet a healthier place.

Stop everything you’re doing, Boulet‘s got a new process video. As insanely detailed and stylish as ever, the legendary Parisian illustrator treats us to 3 and bit hours of watercoloury goodness condensed into a much more manageable 3 minutes and 37 seconds, perfect for a creative afternoon pick me up. You’ll find the rest of Boulet’s timelapses over at his YouTube channel.

Every second of every day we are bombarded with colors, from the shimmering blue of the sky to the black that consumes the world as you close your eyes, it’s easy to forget they are always there. As artists and designers it is our job to understand and use these colors to get our point across and create successful pieces of work. The most recent episode of PBS Arts’ excellent Off Book series deals with this very topic in a big and exciting way, looking at the effect that color (or lack thereof) has on human life. While there are parts that will seem familiar to anyone who’s ever taken an art class, the video offers something new for someone of every skill level, showing just how important it is to think about the colors we choose.

You can check out a list of all the works featured in the video here.

Since collage was popularized in the early 1900′s, it has been embraced by all types of artists and designers. Even 100 years later in the era of digital imagery, there is still innovation coming from those working with just paper and glue. Amanda Beck is one such person who, since starting to use collage to create her Victorian inspired scenes, has not looked back. Witty and thought-provoking, Amanda uses the medium to explore the absurdity of the human mind. Taking an opportunity to delve inside her mind, I found a passionate artist who is just as interesting as the work she makes.

Undercover Robot: What made you decide to go with collage as your primary focus? What benefits does it have over other processes?

Amanda Beck: Well… honestly… It’s super tangible and tactile. I love process and I am not an “end result” kind of artist, I love to get my hands dirty. After I tinkered with assemblages and the like, I wanted to see if I could follow the same sort of process in 2D. I wanted to have the same cut and paste experience with paper, and it helped with immediacy. I know that is contradictory to what I said about results, but that is what process is… seeing your work grow and transform. I have nailed down the process to a few steps and I can get the show on the road with minimal time, which is good, because since I am raising a toddler I have so little of it.

UR: As a maker of collages it’s essential that you choose the right primary images for your work. What comes first, concept or materials?

AB: Concept, then materials… but the materials definitely dictate where each composition is going. I started doing these anthropomorphic drawings and paintings, then moved to collage. Actually, I did drawings, paintings and 3D assemblages… I have all these little creatures in three-dimensional formats sitting around. The collages were an offshoot, I think, of the assemblages.

UR: I definitely saw the connection between your 3D and 2D works. What is it about Victorian animal/human hybrids that interests you?

AB: Ambiguity, the inexplicable, bizarre juxtapositions, I am really drawn to those themes… I’m not sure why. I have always been a fan of the obscure and seemingly enigmatic; I keep a dream journal; I am obsessed with Alice in Wonderland and I use the Victorian/vintage images because they are familiar and foreign. I think that sums up most of the imagery that I use. I want people to look twice, and to not be able to take it in at first glance. Curiosity plays a role.

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