Chinese artist Lu Xinjian has been inspired by maps and cities for years, often collected in his increasingly large-scale acrylic on canvas series City DNA. But his newest work City Light expands on these inspirations, taking the flat abstractions and mounting them onto the wall with neon.
Using Google Earth images of the artist’s current home, the sprawling metropolis of Shanghai, Xinjian renders the map loosely in his abstract style. The resulting plans are rendered in neon on a solid black background, and run on a flash program which controls the timing of each area’s lines being illuminated. Starting with a small, centrally-located blue square, the rest of the surrounding area follows, until the entire piece is lit. Representing the rapid growth of the modern metropolis, the network of neon light tubes takes the language of city communication and visually abstracts the idea of rapid expansion. (via alwaysinstudio and designboom)
Cuban artist Erik Ravelo is known for his ability to confront the difficult and taboo directly by presenting fearless, visually provocative work (previously featured for his Los Intocables, or The Untouchables, series here). Lana Sutra (combining the Spanish word ‘Lana’ meaning ‘Wool’ and ‘Sutra’, which means the thread which connects us) takes the idea of these strings – love, humanity, sexuality – and displays them literally, binding human forms together in intense colored poses.“I’m a human being and I don’t believe in borders. I think the world belongs to everyone born on Earth. This is my planet, our planet. No man is an island. Yes, I was born on Cuba but, above all, I was born on Planet Earth. I like to think that Lana Sutra talks about universal love which cancels diversity.”
Created during his residency at Italian communication research and artistic grant center Fabrica (connected with clothing brand United Colors of Benneton), Ravelo began Lana Sutra by guiding models to pose together, and then casting these poses in plaster. The plaster mannequins were then covered in yarn (in the fall colors of the Benneton line), with separate colored threads from each mannequin being bound together in Kama Sutra positions. Bursting with color, the fifteen installations of present a completely unbiased version of humanity, no longer separated by race, religion, creed or sexuality, and merely bound by our shared humanity. (via collater.al)
Japanese artist/designer/architect (and construction worker?) Yusuke Oono was thinking beyond flat when she conceived her 3-Dimensional art books. First designing the layouts of each book (which includes titles like Sweet Home, Jungle Book, In A Cheese, and a 360° Christmas Book) by hand and with the aid of design programs, Oono then uses a laser-cutter to carve out the highly-detailed dioramas that make up each page of the story. These pages are then bound together, creating a compiled book which more than pops out, but can be read in 360°.
The first quality one may see in the brightly-colored, bent steel pieces by Rana Begum is the potential to shift based on perspective. From one angle, viewers will be confronted by a flat, monochromatic shape jutting from the wall, while another view offers more intricate geometric patterns spreading across several pieces. This is the legacy of Sol Lewitt, Donald Judd or Agnes Martin – to take the simplest shapes and through color, form and collection, imbue them with complexity and depth. As Begum explains, “Its so beautiful the way the simple form and shape can be repeated to create a space like that”
Though Begum lists these more modern artists as influences, theBangladeshi-born, London-based artist also explains that the Aniconism (belief in avoiding/outlawing representations of divine beings, prophets or any human beings in religious imagery) traditions of Islam were equally influential. This tradition was responsible for the exquisite geometric and intensely detailed works seen in classical Islamic architecture, a connection which is apparent in Begum’s deceptively simple works. ”For me, architecture evokes memories of reading the Quran as a child in a mosque in Bangladesh,” said Begum in an interview with Surface Magazine’s Marina Cashdan, “which was bare, simple, and had a lot of light coming in through the windows.” This shifting imagery can be seen in her works, where repetition and simplistic elements collectively offer complexity.
Begum’s most recent works often uses paint on Origami-like, bent mild steel and powder-coated aluminum, but she has also begun using brass and copper as a base for her wall sculptures. “[They are] materials I spent a long time researching and I’m excited to use them for this show,” she says. “They bring an extra dimension to the works” (via wallpaper* and surface)
Helsinki, Finland is already known for its beautiful landscapes, sonorous Baltic coastlines and for its focus on civic design (the city having been named the World Design Capital of 2012). To celebrate this honor, Helsinki tapped Madrid-based design firm Lighting Design Collective (LDC) to create a permanent urban art light piece.
Named for the repurposed oil silo, Silo 468 is a project for the cities residents to enjoy from the inside and out. The silo’s walls feature more than 2,000 perforated holes which echo ideas of a traditional lighthouse, displaying an incredible light show for Helsinki’s Kruunuvuorenranta district. While the coastline is illuminated by the modern lighthouse, the inside of Silo 468 offers a different, more intimate experience. Painted a deep, captivating red, there is an additional light show for citizens to enjoy.
The Director of LDC, Tapio Rosenius, fully explained the project. “At night 1250 white LED’s flicker and sway on the surface of the silo controlled by a bespoke software mimicking swarms of birds in flight – a reference to silo´s seaside location. The prevailing winds, well-known to those living in Helsinki, are used to trigger different light patterns in real time.
Photographers Pierre Javelle and Akiko Ida(previously here) found love through photography while attending art school, but they also found a way to combine their interests in gourmet food and miniature worlds by combining them all into playful scenarios. Their most comprehesive series, MINIMIAM, has been an exploration of visual solutions in miniature since 2002. Says Ida, “We’re both food photographer in our daily work, and we’re both quite crazy about cooking, eating and everything about food. So when we started this small people series, naturally we created the stories related to the food.”
The series (a portmanteau from mini and miam, meaning yum! in French), sets miniature figures in whimsical settings, opening up the possibilities of food photography and creating stories from visual puns. The figures are found from model train set kits (usually 1/87 scale), and seen sledding through icing like snow, blowing air into raisins with a handpump to explain the origin of grapes, and recalling Michelangelo by carving away the shell of a peanut to set free the trapped sculpture (peanut) within.
Mark Twain once noted, “Man is the only animal that blushes, or needs to”, indicating more than just a lack of fur separates us from our fellow mammals. Swiss photographer Vicky Althaus is known for taking risks to achieve unique scenes for capture, but her newest series offers something even more primal.
Going beyond setting the human body in a natural environment, Althaus has set her subject in what appears to be the familiar scene of a natural history museum. This combination, rather than simply pairing a model with live or taxidermied animals in a more natural state, calls into question our ideas of conservation, our relationship to animals, as well as our relationship to our own bodies. Offering very little titillation, the model’s nudity mirrors the animals, though the interaction appears off-putting, enhanced by the dimly lit room and drab staging. Perhaps the most interesting observation is that the nude model, merely stopping in and solely as a visitor, appears as unnatural as the stuffed animals that are meant to portray some example of our natural world. (via juxtapoz)
“Processes that give rise to forms are at the heart of our artistic work.” says German studio Deskriptiv (the combined work of Dominik Kolb and Christoph Bader), who describe their work as being rooted jointly in the (occasionally conflicting) realms of design, art and computer science. “We work on the interface of computer science and design and combine both disciplines. In this area of conflict to find new processes to deal with it, to analyze it and graphically prepare, that’s what fascinates us and drives. The formation processes, we define purely digitally with the help of our main working tool, the computer.”
Naturally 3D printing fits neatly into the Venn Diagram shared by these disciplines (see previous examples, such as the world’s first 3D printed room, Nick Ervick’s incredibly complex 3D sculptures, and more at Beautiful/Decay) and serves as the perfect medium in which to explore their intersection. In works like their “Hüllen” series (“Wrap,” in English), the duo utilizes clear and opaque plastics, combining them with more mirrored silver surfaces. The intricate complexities (and the imagined difficulties to achieve such subtleties without blending the materials) can also be seen in the their “Verbowen” (translation, “Interwoven”) series, combines a variety of materials and surfaces, weaving them in tight complexity. Meanwhile, their “Klebend” (translation, “Adhesive”) series focuses less on blended materials and more on form, choosing a singular palate to exhibit the true range of surfaces the technology is capable of. (via hi-fructose)