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)
The work of Mathew Zefeldt(previously featured here) successfully balances improbable combinations – modern with historical, digital with classical, painterly foregrounds with computer-like backgrounds – all by densely rendering them in traditional painting techniques with oils and acrylics. Having created an advanced personal lexicon of art historical references to classical sculpture, as well as to abstract and figurative painting, these figures cohesively exist alongside more modern glitch aesthetics, shifting colors, garish patterns, and computer-like repetition. Through the combination of these disparate elements, Zefeldt recalls the history of the painting medium, while referencing the potential to represent our new, hybrid reality. Explaining his work, the artist says, “My paintings are still-life arrangements that take place in my head; they are windows onto a fictional world, governed by rules based in the real world, but bent and broken…”.
These still-lifes exist in another improbably capacity, that of using both illusionistic depth and perspective, but on two-dimensional plane. This use of the flat-plane is more often found in collage, as is Zefeldt’s tendency to repeat (almost) identical imagery. When asked by Beautiful/Decay why he chooses painting to construct his explorations of a variegated contemporary visual culture, Zefeldt replies, “It would be a million times easier to collage or photoshop rather than paint. But paint forces you to slow down. Painting the same thing over and over again is almost meditative. Painting can be subversive too. Everything is getting more digital, movies etc. I think its important to keep making things manually, by hand.” This attention to craft highlights a uniquely human quality, where each sculptural bust appears exactly the same, but holds its own standard of flawed beauty upon closer inspection.
The Minneapolis-based painter will be featured in the group exhibition Figure Ground(curated by Gideon Chase - previously featured here) at Eleanor Harwood Gallery in San Francisco, CA. The exhibition (which opens January 10th and runs through February 8th, 2014) features work which explores the relationship between the figure and the foreground, testing different styles of background, illusionistic dimensions and a flat plane’s ability to contain both subject and context in a search for meaning.
Photographer Angela Kelly is yet another creative who is harnessing the current cold to create something special. Her newest photoseries came about when she mixed up a homemade bubble solution (a recipe which calls for dish soap, Karo syrup and water) with her 7-year old son Connor, and braved the early morning cold of Arlington, Washington to see what would happen to the bubbles in the frigid air. Of course, Kelly also brought her camera to document her experiment.
The resulting shots, a combination of high-definition close-ups and macroshots, capture the bubbles as they freeze into glass-like, fragile spheres. While some whither and shrink (like naturally-occurring cold balloons), others gently dropped to the ground like small crystal balls, while others cracked into shards. Says Kelly, “Sometimes in our quest to appreciate beauty, we take for granted even the simplest treasures that can be found in our own back yard.”
“Simply put, I want to encourage others to slow down and appreciate the little things,” she added. “I hope that viewers, when seeing this, are reminded that one is never too old to stop and enjoy the incredible beauty that is around them if they only look and to encourage their children to do the same.” (via huffington post)
Every winter, nearly two million people from all around the world venture to Sapporo, on the northern Japanese island of Hokkaido, to celebrate all things winter for one week at the Sapporo Snow Festival. The festival, which has its roots from when the city hosted the Winter Olympics in 1972, has been taking place since the early 1980′s. From enormous buildings, temples and slides to more intricately detailed and finely-sculpted statues, the city’s streets are full of all types of snow and ice works to celebrate the natural beauty of the winter season.
Now the festival draws sculptors and competitors from all around the world for its famous annual competitions, taking place in several different sites around the city. The event has set several World Records, including the audience-participatory construction of the most snowmen ever made in one place (over 10,000 – a record which still stands). The next installment, now the 65th Sapporo Snow Festival, will be held this February 5th through 11th in 2014. (via weirdtwist)
Although most of America (currently enduring one of the worst winter cold snaps in nearly two decades) would like to ignore this fact in for favor of bundled layers and heated blankets, sometimes even the dire cold, snow and ice can provide the tools and inspiration for those who brave it’s elements. Famed land and installation artist Andy Goldsworthy (previously here and here) has often utilized ice, frost, snow and frozen earth to create his trademark land interventions. And rather than avoiding the elements, Goldsworthy is only able to create these delicate and precise sculptures by embracing the cold.
In Goldsworthy’s 2004 documentary, Rivers & Tides, several scenes document the difficulty in attempting to harness the cold’s elements. One scene shows the artist, braving the winter elements for hours at a time in finger-less gloves (so as to be able to properly feel and hold the materials) fusing together icicle chunks together with warm water, holding them in place while they freeze together into naturally-made though unnatural shapes. The smallest temperature changes, light, and even chance cause the ice sculpture to collapse, repeatedly, which is all part of Goldsworthy’s process. Says the artist, “Movement, change, light, growth and decay are the lifeblood of nature, the energies that I try to tap through my work. I need the shock of touch, the resistance of place, materials and weather, the earth as my source. Nature is in a state of change and that change is the key to understanding. I want my art to be sensitive and alert to changes in material, season and weather. Each work grows, stays, decays. Process and decay are implicit. Transience in my work reflects what I find in nature.”
Goldsworthy’s process is only captured through the use of photographs, and the often detailed notes (below) which the artist uses to document the difficulties and triumphs of each individual piece.