Paper artist Rogan Brown, featured previously here, finds an exquisite beauty in even the most deadly pathogens, of which he constructs astonishingly detailed replicas from thinly cut and layered paper. For Outbreak, he maps out a stunning typography of microbes, neurons, and human cells. Renowned for his fastidious process, Brown spends up to five months on a single piece, a true labor of love that serves as a testament to the reverence he holds for the organic world. Here, the smallest microcosms of the human body are expanded, made vivid and sparkling. In complex webs, they form an impressive interlocking network that is heartbreakingly delicate and fragile.
Where disease-causing pathogens and microbes are typically disparaged as unsavory or unclean, Brown’s masterful and unparalleled craft recreates them in dazzling white, like organic snowflakes possessing endless wonderment. In a fast-paced culture increasingly dominated by technology, Brown draws inspiration from the likes of the romantic poet William Blake, who married his love for the earth with a thirst for the divine and mysterious in nature. While he begins from scientific sketches by biologists like Ernst Haekel, the artist ultimately surrenders to the currents of his own imagination, allowing for the warmth of the human mind to color and transfigure the microscopic forms that make up our bodies. After all, isn’t our own evolution and living existence the most intricate and miraculous artwork of all? Take a look. (via Colossal) Read More >
Tucked away in the middle of California’s Mojave Desert is a tiny pool whose location is unknown to the public, identifiable only by guarded GPS coordinates. It was imagined by Austrian artist Alfredo Barsuglia, and is technically open to the public. If you want to swim in it, all you need to do is ask the MAK Center for Art and Architecture in West Hollywood about the longitude and latitude points and obtain the special key to open the pool’s cover.
The four-foot by 12-foot body of water is available for 24 hours to any one person or small party, and you must bring a gallon of water per person to replenish the pool. Its minimalist stylings are painted white and stands out against the sandy and arid terrain. Alone in the desert, it’s an oasis for a weary traveler or nomad. Barsuglia calls it Social Pool, and meant for the swimmer to consider the societal ramifications of this outdoor installation. A description of the project reads:
The work embodies the massive socio-economic changes that have taken place in the last forty years. It thus understands itself as the product of an economy in which privacy and immateriality have been fully commodified… For many a consumer, art is expected to operate according to the principles of the service economy rather than following humanist ideals of intellectual or moral stimulus and education.
Whether or not this pool encourages this deep thought or is simply a well-thought gimmick remains to be seen. (Via Huffington Post)
Some works of art look so wonderfully tactile that you’re drawn to want to touch them. Such is the case of Séance by American artist Sheila Hicks. The larger-than-life installation features huge tufts of colorful fabric stacked on top of one another. It was recently presented by Demisch Danant at Design Miami/Basel’s Design at Large Program.
A black-painted curved wall is covered with giant splotches of vibrantly colored wool, linen, and cotton. Crafting them utilized a processes that originates as pure powdered pigment and is later combined with a binding agent that creates a pliable fiber. This process is symbolically thought of as translating color into 3D form which is then repeated again and again for the purpose of Hick’s installation.
The multi-faceted Séance features a suspended column and a “color table” in addition to the things against the wall. A waterfall of individual strands pour from the ceiling onto a stack of blobs below them, carrying a powerful visual. The color table encourages viewers to create color combinations based on their own associations. When they’re done, they can share and trade them with other participants and piece together a unique narrative. (via designboom)
This unusual carnival certainly isn’t the kind you find at a kid’s party. For “Funland: Pleasures & Perils of the Erotic Fairground,” artistic duo Bompas & Parr show off a series of bold and whimsical installations at New York City’s Museum of Sex. Immersive artworks include “Jump for Joy,” a giant bouncy house composed of blow-up breasts and “Grope Mountain,” a rock wall featuring phalluses and vulvas. As visitors munch on tasty treats, they are invited into “The Tunnel of Love,” a maze that ultimately ends at the G-Spot, an erogenous zone in the vaginal canal discovered by Ernst Gräfenberg.
While this all may seem like fun and games, the exhibition also illustrates earnest cultural ideas. Here, the artists worked closely with Professor Vanessa Toulmin, the Director if the UK National Fairground Archive, to illustrate the historical associations between traveling fairgrounds and sexuality. Toulmin proposes that at the apex of the industrial revolution of the mid-19th century, carnivals began to emerge as sites for “immoral” behavior.
The St. Bartholomew fair, she notes, was singled out for its sensuous—and overtly erotic— atmosphere. In this uncanny universe of play and mischief, the puritan ideals of the upper classes were tossed to the wayside. The fast-paced amusement rides were quite the novelty at that time, and dark tunnels and cars allowed for discreet caresses to pass between lovers. Some fairgrounds even charged admittance for burlesque and strip-tease shows. Bompas & Parr’s “Funland” certainly captures both the thrilling and the farcical aspects of the carnival scene. Simultaneously amusing and disturbing, the exhibit engages both the mind and the body. The show is currently on view and will run through Spring 2015. (via Design Boom) Read More >
In the digital age and generation of the selfie, a spiraling and often disorienting importance placed on consumerism and commodities permeates even the most remote of regions. Through the billboard jungles and beehive of mass media, images relentlessly promoting youth and sexuality haphazardly depict ideals of femininity. Creating a wormhole of inadequacies, the female form has found itself in a constant tug-of-war in either defending its natural state or scrambling to correct propagated notions of aesthetic shortcomings. As Barbara Kruger famously stated on one of her notorious gelatin silver prints from the 1980’s, “You Are Not Yourself”.
With Britain celebrating the Year Of The Bus (#YOTB), three major companies teamed up to build an amazing life-sized LEGO bus stop on the Regent Street in London. Constructed from over 100,000 LEGO bricks, it features even the most intricate details and has a personal hashtag (#LEGOBusStop).
Opened to public just a few days ago, this bus stop already received huge attention from city’s visitors and locals. On Sunday, it served as a checkpoint for vintage bus parade and showcased models from the 1820′s up to the most modern Routemasters. According to the TfL spokesman, the bus stop was meant to stay in place until July 15th but the term may be prolonged.
“Many thousands of people pass along Regent Street each day and we hope the new shelter will bring a smile to the face of even a hardened commuter”,–Leon Daniels, TfL’s Managing Director of Surface Transport.
The LEGO bus stop project was initiated by Transport for London and developed together with LEGO and Trueform, a company that specializes in public transport hardware. It took around two weeks to build and appears on the outside of a legendary toy store Hamley’s.
With regular vinyl tape, Glasgow-based artist Jim Lambie transforms any given space into a colorful, mesmerizing landscape that often create optical illusions. There is no beginning and no end, no contraction and no expansion- in turn, Lanbie says that his construction “somehow evaporates the hard edge off and pulls you towards more of a dreamscape.” Much like the iconic, giant works of the Abstract Expressionists, its composition is hypnotic, abysmal, and sometimes spiritual, but always bit disorienting at first.
The labor intensive intallations take up to several weeks to complete, but that is no excuse to stop making them. As a former musician, the artist draws on musical references as inspiration. Often time, the titles of his pieces refer to iconic bands or songs, including The Doors, Morrison Hotel (2005), and Careless Whisper (2009). The design of his installations depend on the architecture of the space; each and every one of these are unique and transient installations that cannot be exactly reproduced anywhere else.
Talk about impressive craftsmanship. In a stunning feat of virtuosity, the Chinese artist Ch’en Tsu-chang carved an astoundingly complex scene into a single olive pit in the year 1737. The tiny sculpture is complete with eight exquisite human figures enjoying a serene ride in the furnished interior of a boat with movable windows. To construct the piece, the artist, hailing from Kwangtung and having entered into the Imperial Bureau of Manufacture during the reign of emperor Yung-cheng, allowed his eye and hand to be guided by the natural shape of the olive pit.
Measuring 1.34 inches in length and .63 inches in height, the work was inspired by a poem titled “Latter Ode on the Red Cliff,” written by Su Tung-p’o some six hundred and fifty years before; it depicts the poet and his seven companions on one of his two journeys to Red Nose Cliff, the site of an epic battle that proceeded the poet-official by eight hundred years. On the helm of the boat, the artist meticulously engraved 300 characters from the beloved poem, whose moving lines served as an artistic theme well into the Qing Dynasty. Somehow, the delicate and intricate composition elevates the epic subject matter, making it all the more precious and highlighting its worth as a narrative worth careful representation. What better way to honor a poem about a natural landscape than by rendering its speaker in an organic substance?