These majestic, bird’s eye view images are of the remote Yuanyang Hani Rice Terraces located in China’s Yunnan province. Small bodies of water are punctuated by the bold lines that create the terraces, and they signify the harmony of man and nature. Their brilliant colors and complex designs give them the appearance of abstract paintings rather than natural splendor.
The 1,300-year-old terraces cover 461 square kilometers, and are said to display the best-developed in three valleys. And although it’s hard to tell from these photos, they cascade from a summit of 2,000 meters above sea level to the base of the Ailao mountain range.
From late April to late September, the Hani people grow red rice. The water from brooks, springs, and rain is collected by forests and distributed through the gravitational system. This accounts for the vibrant grounds we see here. (Via China Discovery Blog and Dana Boulos)
French muralist Seth Globepainter paints large, expansive scenes of people on the cusp of going some place else. The fantastical compositions feature young men and women whose heads are often in the proverbial clouds. Their bodies are obscured and half-hidden in another mysterious dimension that’s as easy to access as lifting a curtain.
These murals read as dreamscapes where the surreal and impossible happens. Everything is beautiful, nothing appears to hurt, and the color of the rainbow surrounds us wherever we go.
With their backs and side turned away from the viewer, it’s clear that Globepainter’s characters aren’t concerned about us. They’d rather make it to their next big adventure, or at least find out what’s behind that curtain. This creates a lot of intrigue, and we are founding asking questions about where they are going or what they’re leaving behind.
Australian artist Paul Yore uses colorful applique, sequins, weaving, and more to depict a world that seems cheerful, but is the opposite of sunshine and rainbows. Instead, Yore’s materials tell us that things are much worse. In one work, he welcomes us to hell. Vibrant hearts and yellow smiley faces still opposite to skulls and erect penises in these tapestry wall hangings.
Upon initial glance, your eyes are drawn to all the colors under the rainbows. It feels jubilant and even innocent. But, as soon as you start to study Yore’s work, you see that these choices are his form of biting commentary on political and social issues. Often, leaders will try and sugarcoat serious issues, to be dismissive of victims or even blame them. The artist exposes this type of hypocrisy (and more) by putting it all out in the open so that you can’t look away.
The dazzling satire is at times overwhelming, as if the artist has so much to say that he wants to fit it within one dizzying piece. Here, it’s akin to the epic paintings Hieronymous Bosch in terms of of a compositional frenzy. Where you look for a long time, finding new small moments every time that you look. (Via Collection Department)
Romanian illustrator Aitch creates colorful images that are ripe with magentas, turquoises, electric yellows, and more. But, don’t let those bright pigments confuse you. While cheerful, there are some macabre moments that add an intriguing element to her detailed paintings.
Aitch is inspired by her travels, naturalistic illustrations, naive art, and folklore from around the world. You definitely get the sense of this through her series like The Garden of Good and Evil and Alice’s Adventures in Wonderland. Both, as you might guess, are the retelling of stories – original sin and the C.S. Lewis tale, respectively – but through her own imagery and voice. Here, full-sized women with an array of unusual tattoos interact with the psychedelic landscape and a cast of fantastical creatures.
The same women appear throughout Aitch’s work in other series like Coffins. Here, it’s much like it sounds – we see decorative coffins, people buried underground, and a meditation on what happens after we’re gone. Her style lends itself to a more lighthearted, beautiful depiction of death and a return to nature where we’re wrapped up in gorgeous vines and flowers.
Canadian artist Erin Loree crafts luscious abstract paintings that have an incredible sense of light. The vibrant pictures feature incredible blues, magentas, yellows, and many more spread over a canvas. Loree varies her approach to texture, with some areas of smoothly-applied paint and others with short, thick brush strokes. They work together and form alluring artworks that resemble portraits and at times, landscapes.
Considering the scale of Loree’s strokes, the subjects that she’s painted seem to be captured at a close range. Large, sweeping lines form vague outlines of heads and shoulders, and with names like Energy body, it’s hard not to associate them with that. But, instead of giving us the an idea of what this physical body looks like, Loree uses gesture and intense hues to communicate an inner spirit or feeling. Some of her works appear as if they’re glowing from within - the essence of an intrinsic light that exists inside living beings.
Wearing a bright orange dress and armed with scissors, German artist Nezaket Ekici is tethered to the ceiling of a room via her hair. Long ropes act as handcuffs and are tied to the ends of her long brown strands. The only way out? To cut the strings or hair. Her performance, titled Atropos, was first presented in 2006 and again in 2008. It used 100 ropes, 100 hairlines, and 100 pitons (a type of metal spike) and lasted one hour.
We see that during Atropos, strings and hair are cut and dangle over Ekici’s eyes and other pieces of rope. At its core, it’s the act of freeing oneself from the ties (literally) that bind. In a statement about the work, posted on the Celeste Network:
She carries out an act of the self-liberation, while she frees herself with the help of a sissle from long ropes fastened at the roof and to the hair. She cuts off a part of her hair and in this way dissociates herself from a piece of herself. This work can be seen as a vital discussion about the question on the sense of life, that is partly characterised by striving for freedom. Particularly, because hair can be considered as a symbol of life.
This piece’s title comes from the Greek myth of the Moirai who are the goddesses of fate. The statement further explains:
Atropos, who is one of them splits according to the myth the fate threads of the life with a sissle. The artist shows with the radical act of the hair-cut a way out. She takes fate into her own hands and frees herself, like Atropos did. At least the act of the cutting can be seen as an attempt of liberation in itself. (Via Sweet Station)
Italian sound designers Fabio Di Salvo and Bernardo Vercelli, together known as Quiet Ensemble, create work that features insignificant sounds that we wouldn’t give a second thought to. They focus their energies on the “greatness of small events,” and the subject of their most recent project is a lamp. Specifically, lamps used to produce a musical event. Titled The Enlightenment, the duo calls this performance a “hidden concert of pure light” that uses a bevy of different lighting elements like stage lights and high-powered bulbs. “Instead of violins are neon lights, to replace drums are strobe lights and instead of clarinets we will see theatrical headlights illuminating the audience,” they explain in the video’s description.
The Enlightenment was performed in October for Bologna’s Robot Festival, where it included 96 lamps. Each was fitted with its own copper coil that received various electric currents set at specific intervals, as well as a sensor. This produced an electromagnetic field that was captured and turned into sounds. Salvo and Vercelli accompanied the buzzes by modifying and amplifying each lamp’s electric output in real time. The result is a clash of blues, greens, and yellow flashes with the poetics of a familiar buzz. (Via The Creators Project)
Multidisciplinary artist Georgios Cherouvim’s installation titled Debate looks like your average conversation between two political candidates. But, there are some big differences: the figures’ heads are replaced with flashing geometric forms and they talk using unintelligible robot noises (think a series of beep boops). And of course, these aren’t people – they are realistic-looking plastic mannequins that are animated by an Arduino micro-controller with a custom “conversation” – stimulating program.
Cherouvim says that he entered the world of visual arts through computer animation, which explains the complex nature of Debate. The triangular and rectangular “heads” are controlled by an algorithm that changes lights and sounds based on parameters like how long one of them has been talking, if there was any silence, and the last time one was ignored by the other.
In his artist statement, Cherouvim writes:
My work is a visual representation based upon my perspective of social and political issues. I question established ideas of the modern lifestyle and how common social behaviors and ideologies have turned us against our environment and our selves. I want my work to invite the viewer to step back, observe our actions from a different perspective and associate them to the consequences.
“The act never reaches a conclusion and it is performed in a non-deterministic way,” Cherouvim told The Creators Project. “Their language is incomprehensible, causing the viewer to lose interest in the conversation and politics all together.” (Via The Creators Project)