David Thomas Smith’s Anthropocene series examines global landscapes that have been transformed by the actions and activities humanity. Smith has created these images using a unique and groundbreaking technique. Each image is composited from thousands and thousands of thumbnails extracted as screen grabs from Google Maps, which are then reconstructed piece by piece using Photoshop to produce such incredibly detailed images, a level of detail one can only really experience in person.
Anthropocene itself reflects upon the complex structures that make up the centres of global capitalism, transforming the aerial landscapes of sites associated with industries such as oil, precious metals, consumer culture information and excess. Thousands of seemingly insignificant coded pieces of information are sown together like knots in a rug to reveal a grander spectacle.Questions of photographic and economic realities are further complicated through the formal use of patterns that have their origins in the ancient civilizations of Persia. This work draws upon the patterns and motifs used by Persian rug makers, especially the way Afghani weavers use the rug to record their experiences more literally with vivid images of the war torn land that surrounds them.This collision between the old and the new, fact and fiction, surveillance and invisibility, is part of a strategy to reflect on the global order of things. (via)
Chinese artist Shi Jindian work at first glance may look like an xray of your favorite motorcycle or car but it in fact is creating out of a complex woven wire mesh. Shi Jindian process involves wrapping the wires around every square inch of the object and then carefully removing or destroying the object, leaving only its wire mesh skeleton. (via toxel)
Tulsi Maya, a 22-year-old illustrator/ collage artist and self-proclaimed “jobless wonder” who goes by the moniker Prettywhores, describes her work as “an infinite motif of naked beings, patterns and the primitive fauna / flora of this world complimented by a riot of satanic beasts, creeps and mutant night walkers vomiting up nostalgia.” Check out more of her perfectly irreverent and deliciously grotesque monster mashups on her tumblr, The Darling and the Dirty.
“Branched Lives” (2008). Clay, glaze, wax encaustic, 11.5 x 13 x 6″.
“Two Bas, Console and Consort” (2007). Clay, glaze, wax encaustic, approx. 23 x 32 x 9″ each.
“Lion, Awareness Series” (2011). Clay, glaze, gold leaf, 20 x 27 x 12″.
“The Dreamer Awakes” (2007). Clay, glaze, wax encaustic, 12.5 x 18 x 13″.
Adrian Arleo is a sculptor living near Missoula, Montana whose ceramic works hybridize the human figure with animal and environmental imagery. Among her creations are bodies pock-marked with honeycomb formations, people birthed from wasp nests, and animals whose skin ripple with human eyes. While there is a sadness and mystical darkness in some of her sculptures — the “Swallow Bust” hybrid, for example, seems suspended between life and death as birds inhabit her hollowed body — they also exhibit agelessness and awareness. Part of this can be attributed to the classical style of the sculptures, which is reminiscent of ancient Greek and Italian art. As Arleo writes on her About page: “By focussing on older, more mysterious ways of seeing the world, edges of consciousness and deeper levels of awareness suggest themselves” (Source).
Thematically, however, Arleo’s works draw their strength and knowledge from the cycles intrinsic to the natural world. As she explained in a 2012 chat with Ceramic Arts Daily:
“[M]y ideas come mainly through observation and curiosity, taking note of what’s around me: wasp nests, bird tracks in snow, the eyes in aspen tree bark, the limbs of trees, deer grazing in the fields, all these things are analogous to our own experiences with life cycles of birth and growth, reproduction and nurturing impulses, defense mechanisms, aging, death, decay. […] With the changing state of the world, I feel a greater and greater urgency to remember and express how we are all connected, all dependent on the same air, water, soil.” (Source).
As hybrids, the sculptures’ awareness of life, death, and the interconnectedness of all things is fused into their bodies. There is no distinction between what is solely “human” and “animal”; all worlds are represented in one. They remind us of our own material connections to the natural world, and how — through their sad, ancient expressions — the world is changing.
Not all of Arleo’s creations foretell this change passively, however. She expresses how her newer works are quietly unwilling to be reduced to extinction:
“[W]hen I ﬁnished this most recent body of work and looked for a feeling that encompassed it as a whole, I was struck by the concept of a harbinger: a dream, sign, or omen foreshadowing things to come. There is a quiet resistance, in this work, to the cultural and biological losses of our time” (Source).
In this way, we can read the sculptures as defiant, with their bodily hybridity signifying a memory of and connection to the natural world that will never be completely wiped away.
Visit Arleo’s website to view more of her work. You can read the rest of the article on Ceramic Arts Dailyhere. (Via I Need A Guide)
Constance & Eric are a married couple from Brooklyn who have carved a niche and figured out how to make a living taking pictures of people having sex. Blurring the lines between high art and commercial photography, the duo have photographed over 140 couples. Beginning the project out of disappointment in the way commercial photography generally treats bodies and sex, the couple came up with their own parameters for “sexy.” Disenchanted, as many of us are, by the narrow definition advertising and media give to the term, Constance and Eric decided to pursue a visual journey through the erotic and corporeal.
Subtle in their abstraction, the duo’s photographs transcend pornography or explicit imagery and become mere suggestions of the actual act. But there is a sensual nature to the images that feels incredibly personal, even if a viewer can’t actually discern what precisely he is looking at. In an interview with Nerve, Constance said, “The abstract images help create more of a feeling of the moment. It enables the viewer to put themselves in the image without the distraction of recognizable features.”
In an interview with Huffington Post Constance and Eric said that the part of their job they enjoy the most is “Showing people how beautiful they are together.” Check out their website, and if you’re brave enough, grab your significant other and contact them for a session. (via HuffPost & Nerve)
Lui Bolin is not a ghost, but a Chinese artist who is very mysterious in his ways of producing art. Is it performance art? Photography? Conceptual? All of the above? Either way, I couldn’t find him in the tractor picture for a good 5 minutes.
My Chopsticks Bra: Enables a user to store foldable compact chopsticks in a side pocket. The bra is designed with bowls of rice and hot miso soup.
Speaking of boobs, Japanese lingerie company Triumph unveiled its Make-The-Putt Bra today. Triumph creates two novelty bras each year, typically centered on important issues in Tokyo. In the past, some have involved solar panels, miso soup, voting and baseball. Take a look at all of them on Huffington Post and make a vote to which you think are best and which are a bust (haha…)!