Human Organs Created Out Of Flora

Human Organs

Human Organs sculpture11

Human Organs sculpture

 

Bristol artist Camila Carlow creates these lovely renderings of human organs by foraging for wild plants, weeds, and the occasional animal part and then sculpting and arranging these various bits of flora. Her series, entitled “Eye ‘Heart’ Spleen,” recontextualizes images of organs such as a heart, lungs, stomach, uterus, liver, and testicles, demonstrating the reflection of internal biological structures with external natural structures. From Carlow’s site, “This work invites the viewer to regard our vital structures as beautiful living organisms, and to contemplate the miraculous work taking place inside our bodies, even in this very moment.” You can order prints and keep up with this particular project’s developments via its Facebook page. (via unknown editors)

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Mark Dorf’s Beautiful Juxtapositions Of Technology And Nature

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Photographer Mark Dorf‘s photoseries //_Path is an exploration of how technology and encroaching singularity affect our relationship and place in the natural world. The Brooklyn-based artist notes “…there is barely a single situation that is not influenced by digital technology and communication through the World Wide Web – the Internet and digital technology has been integrated into nearly every part of our lives and will only continue to become more and more present in our daily routines.”

//_Path seeks to explore this integration in its most visual form; combining bucolic and lush photography with images from collage, digital photographs and renderings, and early 3D scanning techniques. These symbolically-loaded, technologically-sourced alterations serve to represent a “…synthetic form to contrast against the landscape in which they are manifested; a comparison of language.”

Though Dorf is certainly not the only artist working with juxtapositions of technology and the natural world, his work specifically calls attention to the psychological and sociological damage our dependence on the tools we depend on, which once served us and now control us. Acknowledging that this dilemma too is human nature, Dorf seems to call for a combination of understanding: an existence both within the frameworks of our digital lives, and within our natural environment. Dorf explains, “It is no longer about logging on or off, but rather living within and creating harmony with the realms and constructs of the internet for our newest generation of inhabitants.” 

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Guy-Olivier Deveau’s Next Level Sand Sculptures

Guy Olivier Deveau sand sculptures

sand sculptures

sand sculptures

sand sculptures

Guy-Olivier Deveau’s sculptures would be fascinating in any medium, the fact that he works with sand and ice makes them that much more appealing and interesting.  Deveau started out sand sculpting as a summer job in Quebec City so he could earn money to finance his education in the filed of philosophy.  Now that he’s a sculptor full-time the Canadian artist travels around the world creating his ephemeral sculptures and competing in competitions.  Though he also works with wood, snow and ice, Deveau appreciates sand as a medium because he feels he can achieve his desired texture, shadow and edges.  Indeed, his final products are amazing feats considering their medium.  Each of his sculptures takes approximately three days to create and each requires an immense amount of patience.  Deveau starts with a sold sand block and slowly and carefully carves from that.

Deveau will often include themes relating to philosophy, mythology or psychology, incorporating his interests along with his talent.  For instance, his most recent sculpture made on a beach in Texas, Bleeding, features a horizontal face, seemingly melting back into the ground.  The agony and expression of the face are remarkable taking into account that they were carved out of sand.  Though his was one of many sand sculptures created for Sandcastle Days 2013, the sophisticated emotion of Deveau’s Bleeding allowed it to stand out as eye-catching and thought provoking.

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Jeffrey Stockbridge Photographs Philadelphia’s Urban Decay

Jeffrey Stockbridge Urban Decay

Urban Decay Photography

Urban Decay

During the 19th century, Kensington Avenue in North Philadelphia was a symbol of abundance and prosperity. It once was nationally recognized as one of the leaders in the textile industry. Today, Kensington Avenue is abundant in prostitution, drug lords, drug addicts, and poverty.

Photographer Jeffrey Stockbridge, intrigued by Kensington’s history and current situation, creates Kensington Blues, a collection of photographs that capture the essence of the infamous North Philly Avenue and its urban decay by focusing on its daily activity, its inhabitants, and its cluttered,dirty landscapes in decay.

Stockbridge deliberately chooses to work with a large format (mostly used in early photography), not only for its obvious perks in quality, but also, it seems, to juxtapose the histories of two very different times in Kensington Avenue. With a 4×5 camera, Stockbridge slows down the current hectic and toxic flow in Kensington in hopes of shining a light onto his subject’s day-to-day struggles and their surroundings- making us, the viewers, reconsider our quick judgments about them and what they do on a daily basis.

The photographer records new found observations though images, audio recordings and journal entries. (Via Ignant)

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Kumi Yamashita’s Shadow Art Creates Stories from Shadows

Kumi Yamashita - Installation

Kumi Yamashita - Installation

Kumi Yamashita - Installation

Kumi Yamashita - Installation

Kumi Yamashita’s work is nothing without light and shadow. By subtly manipulating materials such as paper, fabric and wood, she uses strategic lighting to create shadow art installations. Yamashita focuses on the human figure and proves that an attention to detail make all the difference. She makes tiny cuts to paper and carefully drapes fabric. Coupled with a careful consideration of folding and lighting, these pieces are a feat of engineering. A minimal amount of material creates a narrative with a range of emotions. Yamashita writes about her work, stating:

I sculpt using light and shadow. I construct single or multiple objects and place them in relation to a single light source. The complete artwork is therefore comprised of both the material (the solid objects) and the immaterial (the light or shadow).

Veil (directly above) is one of Yamashita’s newest works. This piece uses fabric, light and shadow to depict a female figure laying down. Looking at it, with the spotlight shines perfectly on a sheet of fabric. It feels like we’re looking at a ghost, but it isn’t unnerving or spooky. Instead, it feels sensual, like we are the voyeur to a private time; It’s a memory. Environment, in this case, is also important to the piece. Installed on a pedestal and devoid of adjacent works, it is isolated, making it feel even more like a moment in time.

Yamashita is an engineer, creating incredible forms that are realistically rendered. They aren’t blocky or awkwardly composed; her silhouettes are very fluid. At different vantage points, you wouldn’t think that a seated figure came from a sheet of paper. But once you do, it instantly elevates her shadows. The amount of craft put in each installation is inspired.

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Angelo Merendino Photographs His Wife’s Battle With Terminal Cancer

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death by cancer

Five months after being wed in Central Park, while most couples are settling into a new blissful life together, Angelo Merendino and his wife Jennifer received troubling news: Jennifer had breast cancer.

Of this diagnosis, and the journey that ensued, Angelo states, “With each challenge we grew closer. Words became less important. One night Jen had just been admitted to the hospital, her pain was out of control. She grabbed my arm, her eyes watering, ‘You have to look in my eyes, that’s the only way I can handle this pain.’”

Angelo took his wife’s request seriously and his photographs, collected here, document not just her struggle with cancer, but also a certain compassionate way of looking– a presence from behind the lens that is not exploiting nor agenda-driven. Each black and white image from Angelo shows the necessity of bearing witness or being a vulnerable presence that is sharing in the difficult and very human experience of love and loss.

Angelo additionally notes, “We loved each other with every bit of our souls. Jen taught me to love, to listen, to give and to believe in others and myself. I’ve never been as happy as I was during this time.”

For those of us touched by cancer, we can relate to Angelo’s statement — sickness is not just about the disease, it’s about relationships: how we deepen with one another by practicing empathy and how this feeling palpably echoes long after someone passes. Capturing this feeling in art, the way Angelo has, connects not just two people, but many millions more.

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Peter Menzel Photographs What A Weeks Worth Of Groceries Looks Like Around The World

Peter Menzel - Photographs

United States

Peter Menzel - Photographs

Germany

 

Chad

Chad

Equador

Equador

What does a week of groceries look like for you? Do you buy a lot of fruits, maybe some vegetables? Or, do you go for the frozen pizza and cookies? Peter Menzel photographed one week of groceries for families around the world. Traveling to places like Mexico, France, Chad, Mongolia, and more, he highlights the differences between the type and amount of food that is bought each week.  Some of the disparity is staggering, especially when comparing volume of food and nutritional value on a week to week basis.

Being from the US, I was not surprised at the amount of processed food I saw. In this photograph, there are very few fruits and vegetables. Compared with places like Turkey and India, whose diets are comprised of mostly fresh foods, it was kind of disgusting. Just think about how many preservatives and chemicals there are! Something that’s pretty consistent from country to country is the purchase of liquids each week. Sodas (especially Coca-Cola), juices, bottled water are all things that showed up in nearly every picture. The family in Germany includes several bottles of wine and beer, which doesn’t amount to that much over the week, but together seems significant.

Of course, this is just a snapshot of one family and not necessarily indicative of how an entire country eats. We don’t know the finer details of the subjects, like the city they live in or their socioeconomic status. But, it does point to some trends and cultural habits that exist. It also gives us a snapshot to how other people unlike us live, which is always a good thing to be aware of.

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Katharina Fritsch’s uncanny sculptures

Katharina Fritsch - installation

Katharina Fritsch - installation

Katharina Fritsch - installation

Katharina Fritsch is a German-born artist who transforms quotidian objects or mundane figures into something new.  Using manipulation of scale and color along with repetition, Fritsch’s sculptures are usually hand-molded, cast in plaster, reworked, and then cast again in polyester.  Her time consuming process creates results that are uncanny and strange.

Interested in psychology and the expectations of visitors to a museum, Fritsch’s work both appeals to the popular imagination, and a more conceptual thought process.  One of Fritsch’s most popular works, Rattenkönig/Rat King (1993), a circle of black polyester rats that stand 12 feet tall, was included in the 1999 Venice Biennale.  Both funny and frightening at the same time, works such as Rattenkönig/Rat King border on reality and illusion.  Much of Fritsch’s work has an unsettling, often religious, association that is deeply psychological.  Fritch’s sculptures tug at our deepest fears or most vivid dreams.

Usually pulling imagery from her world, subjects are often otherworldly in appearance, seemingly fantastical, like something out of a dream or a distorted memory.  Her more recent installation, Hahn / Cock installed in Trafalgar Square in London is located across from Nelson’s Column.  The Column is a monument built to commemorate Admiral Horatio Nelson, who died at the Battle of Trafalgar in 1805.  Fritsch’s giant blue rooster is meant to comment on the masculinity and public pomp of the square.  Again, funny with its double entendres and absurd appearance, Fritsch’s sculpture is also deeply unnerving.  Installed this past July for 18 months there is plenty of opportunity to check out Fritsch’s installation.
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