In applying borax crystal to books and magazines, Alexis Arnold turns functional reading material into sculpture. The naturally geometric planes of crystal adhere and warp pages, simultaneously marring and preserving classic and lowbrow titles alike. And hey, if nothing else, crystals are pretty cool. If you’re not afraid of inhaling some chemicals, turns out you can make your own at home.
Heeseop Yoon‘s large-scale installations explore storage and debris — items that occupy space in our lives. Yoon’s method varies between collage and pen, and plays on notions of memory and perception of clutter over time. The finished work doesn’t feel finished as it swells over the space it inhabits, sketched and redrawn, different from every angle and space.
Dina Litovsky‘s work examines “group interactions in both public and private spaces.” In her series Bachelorette, Litovsky turns the lens on the long-standing tradition of the bachelorette party, observing females actively performing the rituals you may have heard about but never witnessed.
Shannon Richardson‘s photographs have a “presented without comment” feel to them, documenting the signage and structures of American countryside with the intent to preserve. In addition to the observational and timeless sights of Texas, Richardson’s book, Route 66 American Icon, is a compilation of scenes from along the historic Route 66 highway.Richardson is an Amarillo, Texas-based photographer.
Zhang Kechun‘s photography series The Yellow River keeps a watchful eye on a natural resource that has brought both support and devastation to the country it runs through. While Kechun agrees it is “improper for a photographer to make comments on mountains and rivers” a subdued palette offers a thoughtful visual documentary that needs no comment.
“As being alive, we all go by with time. But we are still here, and we may have a better consideration on the future after having a look at the past and present with heart.” — excerpt from artist’s statement (via WeWasteTime)
The title of Joseph Gerhard‘s series Unmade Beds is self-explanatory. Gerhard says he thinks of these photographs as “portraits by proxy of the person who just slept there.” It is interesting to think of these as art — no two alike, ever-changing, telling a story about your form and movement — a daily unintentional installation that speaks on your behalf.
Kurt Manley‘s photographs take advantage of interesting composition and unexpected lighting sources to make mundane things suddenly worth looking at.
A collection of illustrations from 
