Eric Standley’s work is made out of hundreds (yes hundreds!) of sheets of paper that are laser cut with dense geometric patterns. Looking like 3D stained glass from far away, these layered images transport you to another time and place with their meditative quality. What’s most fascinating about Standley’s works are the areas where the paper floats over from one side to the other creating deep caverns with up to 3 inches of depth. (via visual news) Read More >
Judith G. Klausner combines two of my favorite things, food and art in her Oreo Cameo series. Carving delicate portraits into the centers of Oreo cookies, Klausner’s gorgeous relief sculptures measure at only 2 inches in diameter and reference hand made crafts such as ancient placards or rare roman coins. (via 1 design per day)
Robert Fontenot’s sculptures, made out of bread dough, present the viewer with extremely humorous, yet severely violent worlds. He’s the author and designer of three books. Two of which are about the histories of ancient mythologies and the other of which is an illustrated history of performance art – that is, in my opinion, far more entertaining than Roselee Goldberg’s classic Performance Art: From Futurism to the Present. However, skillfully sculpting the human form’s most revealing gestures is not Robert Fontenot’s only mastered practice. He also has an ongoing series, where he embroiders textiles, as well as another project entitled Recycle LACMA – in which he buys deaccessioned items from the museum at auction and then turns them into items of use. For example, he transformed a Brocade evening dress into a fully functional fanny pack. If you have your wits about you, then it won’t take long to recognize the awesomeness of Robert Fontenot’s work.
Welcome to the hotel Au Vieux Panier in Marseille, France where graffiti artist Tilt has literally painted graffiti on half of the room. Covering every square inch of exactly half of the room with a mix of tags, throw ups, and more drips than your last DIY paint project, I cant help but think that Tilt’s room is a metaphor for the double lives that most graffiti artists lead. By day they are a minimalist going to work and paying your taxes and by night you are busy climbing billboards and vandalizing everything in sight. (images big addict, via my modern met)
Fred Eerdekens’ work combines shadows and and typography to create experimental artworks that lie somewhere between installation and sculpture. Each piece relies on the perfectly lit gallery space to create the visual tricks and the process of the work is revealed as viewers walk around and interact with the work. Not restricted by one material Eerdekens uses everything from artificial cloud formations (pictured above) that spell out “neo deo” to food boxes (after the jump) that are arranged to cast the shadow “Come Home”.
Jocelyne Grivaud reinvents Barbie as famous works of art and cultural icons throughout the ages.
“This design needed time to take root, as often. The whole story began one day, in November 1967, with a present, all tenderness.
It was pink, vaporous and extremely delicate. With the patience of an angel, my mother had secretly knitted a dressing gown and tiny bootees for my Barbie. It seems to me there were more clothes, but these bootees, with their little pink knots on top totally fascinated me. Then I grew up. The doll vanished, but I kept in mind the elegance and grace of my Barbie as well as a little bootee deep down my secret box. One day, the idea of extending the happy part of my childhood through pictures I love took shape. Barbie is often criticized for being too blonde, too superficial, too skinny, too “ideal marketing”, too “this” and too “that”…. My aim was to adjust this so famous profile to different emblematic representations.
Here’s my personal contribution as a birthday present to my mascot, Barbie, superimposed on the vision of artists whose work I greatly appreciate. Let me thank them all for creating such intense pictures. Many thanks to Ruth Handler for creating this dolly model that enraptured me throughout my childhood.”
Lee Jeffries lives in Manchester in the United Kingdom. Close to the professional football circle, Lee began his career photographing sporting events. But a chance meeting with a young homeless girl in the streets of London changed his artistic approach forever. Lee Jeffries recalls that, initially, he had stolen a photo from this young homeless girl huddled in a sleeping bag. The photographer knew that the young girl had noticed him but his first reaction was to leave. He says that something made him stay and go and talk with the homeless girl. His perception about the homeless completely changed. They become the subject of his art. The models in his photographs are homeless people that he has met in Europe and in the United States: «Situations arose, and I made an effort to learn to get to know each of the subjects before asking their permission to do their portrait.» From then onwards, his photographs portray his convictions and his compassion to the world.