Brazilian artist Monica Piloni creates sculptures of skeletal fruit. Her work consist of dissected papayas, figs, oranges, and peaches that’s innards expose each fruit’s meat to be structurally held together by a spine and rib simulated structure. The tiny fish-like skeletal structures within each piece of fruit is created from vinyl and acrylic. Though the pieces are indeed manmade, the delicate nature of the work truly provokes the viewer to second guess his or her knowledge of reality. Illusion as everyday object seems to be a common theme within Piloni’s work. Her sculptures mimic ordinary items and manipulate them into sculptural puns. For example, other pieces of hers play with a sort of post-modern fragility of the body, a literal “plastification” of the human form. For instance, one of her sculptures is a muscular body as a dining room chair. Another piece consists of what looks like a mass genocide of naked barbies. It seems, perhaps, that Piloni’s work aims to, with an air of dark humor, remind us of the underlying reality of our comforts. Do these pieces of skeletal fruit remind us to be mindful of our consumption? Do we even really truly think about where what we consume comes from? What it’s made of? What death and harm simple everyday products causes to those who don’t have the luxury to partake on the demand side of capitalism? Simultaneously fun and disturbing, Monica Piloni’s work is provocative and inquisitive. (via designboom)
We live in a visual culture. Our daily ability to understand cultural references and have collective visual experiences shapes our discourse with our greater surrounding. Imagine never knowing what the mystery smile of the Mona Lisa looks like, or not being able to experience any work of art at all with out being told what it looks like. Imagine never being able to experience on your own how a piece of art makes you feel. For millions of blind people over the world, that is an everyday reality. Unseen Art, a project creating 3D models of master artworks, will change the art experience for the blind forever. With the help of resources from all over the world, the Unseen Art team is gathering information in order to create 3D documents of classic works, such as the Mona Lisa, to be printed in 3D form. Even better, the project is sharing these models for free, making sure that their information can be accessed anywhere in the world there is an 3D printer. Through the collaboration of 3D technicians, artists, and the visually impaired, the project has started to become a reality. With a little help, the project will be able to launch major gallery shows, create a 3D art community to constantly improve the project, and, ultimately, make art more accessible than ever.
“It would be a revolution to get blind people going to art galleries,” states Eija-Liisa, the cultural director of The Blind Federation of Finland.
Premier website builder Made With Color and Beautiful/Decay have teamed up again to bring you exclusive artist features. We show you exciting artists and designers who use Made With Color to create a clean and modern website. But it doesn’t just help artists create a minimal, mobile-responsive website; Made With Color also allows them to do it in only a few minutes without have to know any coding. This week we are featuring the work of New York artist Micah Ganske.
Soft, pale colors mixed with futuristic forms. Micah Ganske’s paintings are the reflection of future habitats and societies, combining the notion of technology degrading population with a hopeful note. Influenced by the ghost-town of Centralia, PA, the artist beautifully depicts abandoned city landscapes.
In his series “My Future Is Always Tomorrow’, technology is taking over. The paintings depict a world overtaken by technology and its effect on human kind. “My new sculptures and drawings express my hope that we will further use technology to improve and evolve our very selves.” Ganske’s vision doesn’t end with just paintings. Along with video and virtual reality experiences he also creates intricate sculptures of spacecrafts using a 3D printer. These are part of his fleet of spacecrafts that are meant to eventually come together to create a larger than life humanoid traveling through space. A symbolic vision to forecast humans embracing technology instead of enduring it.
Young-Deok Seo is a South Korean artist who creates what he calls “iron men”: nude sculptures made completely out of welded chain fragments. Demonstrating his deep fascination and concern for the human body, Seo builds standing figures, heads, busts, and torsos by carefully melting and linking chain fragments together piece by piece. The result is a series of elaborate assemblages, the links seeming to undulate like living cells. Each work entails a huge commitment of Seo’s time, patience, and concentration, making his artwork a form of spiritual practice.
What is most remarkable about these re-imaginations of the body is the way each piece tells a story—both intimate and universal—about the pangs of existence. On his website, Seo’s write-up describes his figures as embodying intense suffering, and conversely, an ascetic emptiness; they are at once “haggard like a seeker,” “infected by something unknown,” and devoid of all “earthly desires and passions” (Source). Despite their complex “skins,” each figure is ominously hollow. Some of them are incomplete, with their faces and limbs appearing to dissolve into the surrounding space. This suggests a chain reaction of the body to the outside world, a fusion of pain and hope that resembles destruction as much as it does liberation.
Los Angeles based artist Adi Putra takes you to an ethereal dreamland embedded in enigma, euphoria and that quintessential Southern California aura of bliss. It is no mystery why he frequently works with musicians such as Moby, L.A. Witch, Kimbra and The Vivian Girls — his style is fluid, loud, reverberating and ultimately undeniably cool. His work acts as the embodiment of warmth and mischievous freedom. It is images like these that save our souls from wilting during these bleak and bone chilling winter months. In moments of cold season melancholia, Putra reminds us, through an alluring controlled chaos, what true creativity and passion feels like. With titles such as Spring Fever, Valley of the Wind, and Dreamcatcher, his work pictorially creates that undeniable feeling of youthful excitement. That one you get sitting on a porch, drinking a beer as the sun starts to rise, filled with a quiet thrill for what’s to come. Almost like a vintage, punk rock Ryan McGinley, Putra is able to create striking images that demand attention through glorifying the beauty in youth and purity of nature. His work, romanticized with quiet tones of sepia matched with hints of ultraviolet hues of hippie energetic galore, hits every note aesthetically thrived for. Each piece is truly blissful, sinister and perfectly raw.
Katie Eleanor is a London-based photographic artist who creates visions of Victorianesque romance and melancholia. Complete with elaborate costumes and set designs, her works have a theatrical presence; serene-faced maidens wearing gowns—or in various states of undress—pose in dimly-lit rooms, often with esoteric props, such as a magpie, a fox, and a white crown. Mixing sensuality with darkness, the chill of death creeps in on the periphery, taking the form of dead branches, wilted leaves, and a shroud. There are signs of injury and endurance; one woman leans on crutches, while another stoically leaks blood from her eyes.
In a statement provided to Beautiful/Decay, Eleanor talks about her work. “My style is fictional and narrative based, away from the confines of our shared earth,” she writes. “I am influenced most heavily by the past, [. . .] as I am intrigued by both its links and disconnect from the way we function in the present.” Her influences arise from several creative sources, such as books, performance, Victorian illustration, and costume collectors. As a visual storyteller, set design is integral to conveying her meaning and absorbing the viewer into her ethereal dreamscapes; narrative and emotions speak through the costumes and staging. In addition to this complex process, each image is hand-colored, which allows her to “push more of [herself] into [her] works” by incorporating more of her physical being.
Art director Kouhei Nakama has created a computer generated short film that explores the possibilities of a 21st century human chameleon. Within her film titled Diffusion, she portrays a female figure as a generative canvas to investigate the potentiality of human flesh. Using a system that simulates biological processes through mathematical testing, she is able to imitate texturized skin based on patterns and textures that occur in nature. The film begins with what most closely resembles, perhaps, a white and red version of the shapeshifting capabilities of Mystique from X-Men, and transitions into a soft poetic display of a humanoid light show. Through vibrant alterations of rainbow colors and body motions displayed with toned muscles, the film provokes thoughts of almost futuristic yogi sentiments of human aura and energy field displays. The film comes to it’s climax with sculptures of human bodies that seem to be either virtual or somehow physically interconnected as hands appear to have the ability to travel through bodies. The constant shift of color and pattern and eventual bloating and deformation of the figures allow the piece to end on a dramatic, yet satisfying note. Simultaneously alien, human and robotic, Nakama’s display of futuristic metamorphosis is both disturbing and undoubtedly magical. Kouhei Nakama’s short film holds its own as a mystifying and captivating piece of work; however, it’s true allure lies in it’s ability to display the vast ability (and even further potential) of what CGI programs can accomplish. (via The Creators Project)
A black and white photograph of a couple expressing nothing but tenderness and love. Donna Pinckley captures interracial couple posing naturally in front of their homes. Nothing should be perceived as wrong in these pictures, yet some people are not only condemning these individuals’ relationships but they are throwing hateful words at them. These can be read below the photographs, “as a reminder of how part of society sees them”.
After taking photographs of young children growing up through life, becoming adults and posing with their spouses, Donna Pinckley encountered a recurrent situation where women got to reveal the loathing comments they were facing because of their partner’s race. Her reaction to these women’s confidence has been artistic. She began to photograph interracial couples and depict their resilience and refusal to let others define them.
The couple are of all ages, and they represent any individuals in any country at any given time. This cold harsh reality is however counterbalanced by the message of hope these couples are giving us, via the mean of photography and the presence of Donna Pinckley behind it. A singular and effective way to spread a notion of tolerance and acceptance. Despite the words, the looks and the attitude towards those relationships, the love and trust created by these couples is bursting and undeniable.