The intentional glitchiness of the photography of Federico Ferrari is at once familiar and surprising. This series appears to be still life photography interrupted by a scanner malfunction. A section of each image is dragged across the plane reducing it to simple lines of color. Small pieces of photographs are severely exaggerated in size. It abstracts otherwise benign photographs and plays with the viewer’s perception of a simple scene scene.
It’s difficult to tell who is the artist in this work. Hubert Duprat began working with caddisfly larvae in the 1980’s. The caddisfly live in streams and use bits from their natural surroundings to create a casing to live in. Typically this is made up of pebbles, wood, plants, and so on. Duprat moved these caddisfly larvae to a new surrounding and delicately removed their outer shells The caddisfly than used the precious metals and stones of their new home to create strangely glamorous shells. It’s interesting to note the particular materials and patterns the larvae tend toward. The flies’ “creativity” and Duprat’s conspicuously absent hand in work makes it extremely intriguing.
Artist Jamie Poole has taken a dramatic turn in his art recently. Majoring in Design Poole has primarily worked in landscapes. However, to create a portrait of Sophie, pictured above, he used a medium tied to her identity: English literature. Poole uses strips of poetry to create a unique collage. Words wrap around eyes and slide down noses to create incredibly realistic images. The pieces are particularly large compared to the intricately placed lines. Regarding this, Poole says:
“The repetition of collaging each line of text onto the board to make the image becomes similar to meditating in my view. It also means I can really focus my attention on each individual area of the picture to really look closely at the subject and learn about her.”[via]
The stark sculptures of Al Farrow are jolting in their simplicity. His Reliquaries series of sculptures are houses of worship and reliquaries (a container for holy relics) built from weapons and ammunition. Stacks of bullets form walls, barrels form steeples, and muzzles form minarets. Farrow’s artistic commentary on violence in connection with religion is a powerful one. Using a provocative medium to create loaded imagery (seriously, pun not intended), Farrow’s work easily elicits strong responses from viewers.
If you’ve been enamored with 3D printing as much of the creative community has been you may be interested in the 3Doodler. A Boston based company recently developed a pen that takes your doodles off your page – a pen for three dimensional drawing. The pen extrudes a heated plastic which which cools and solidifies quickly enough to hold its shape. In addition to drawing free hand, stencils to help create little sculptures, such as a mini Eiffel Tower, will soon be available to print out on the company’s site. [via]
Estonian artist Eiko Ojala expertly creates illustrations using paper. His complex collage pieces are at the same time simple in execution. His background as an illustrator is clear in each of these pieces. Ojala is able to communicate a considerable story with minimal imagery and medium. Whether a series of trees interacting through different seasons, or portraits, Ojala weaves interesting narratives using simple poignant scenes.
The Eiffel Tower was built in 1889 and by the very next year it had several admirers in neighbors across the channel. Some saw the potential of a similar tower, a “Great Tower for London”. These illustrations are part of a catalog of competitive designs for the proposed tower released the following year. Some are hilariously derivative of the still brand new tower. Others, on the other hand, seem to belong to some sort of Victorian space-age. Regardless, in a strange way all of the designs seem to point to the importance and uniqueness of the original Eiffel tower, even at this very early age.
The work of Nicola Bolla is arresting in its contrasts. The artist often fashions sculptures of straightforward (albeit morbid) objects that are then covered in sparkling crystals. The glamorous glitter of the crystal is juxtaposed against the utilitarian nature of many of the objects they cover. These are further contrasted in these images taken by photographer Sergio Alfredini. The dilapidated house provides a strangely ideal setting to emphasize these brightly dark sculptures.