Sarah Duyer is a San Francisco-based artist who brings ceramic tableware to life in unsettling and thought-provoking ways. Teapots with spidery legs scuttle across their platforms, dripping with black and blood red paint; bowls and mugs with human teeth and fingers resemble the offspring of botched laboratory experiments. Infused with body parts and the illusion of movement, each pot, bowl, and mug seems to take on a half-consciousness that troubles its status as an ordinary, innocent object.
Duyer’s creations arise from a curiosity about how an object’s design can produce comfort or discomfort—and her works elicit both. By coupling fun, pastel colors with creepy body parts, her works make us amused and repulsed. The interplay of life and death is also visible; one teapot (or “creature pot,” as she calls them) appears to stumble wearily, half of its legs broken off. The use of encaustic wax and rough, exposed clay in some of her pieces further adds to this ominous theme of biological deterioration.
In the following statement provided to Beautiful/Decay, Duyer explains her unique and investigative approach to ceramics, which seeks to re-explore the medium while reinvesting familiar objects with meaning:
“Ceramics as a medium is kind of tricky to classify, since it’s still stuck in the debate of whether it should be considered a fine art or a craft. I think with this project I really wanted to utilize my knowledge of traditional forms and techniques and challenge the idea that the two have to be separate. I wanted to alter the tradition and explore the relationship we have with the ceramic pieces that we interact with on a daily basis.”
In addition to these sculptural works, Duyer creates functional ceramics, such as plates and mugs etched with unique designs. Check out her website, Instagram, and Tumblr to learn more.
Berlin based digital art and design studio, Onformative, has recently installed their newest project, ANIMA iki, an “immersive experience of light and sound.” The installation is made up of a large glowing sphere that spans two meters in diameter and is suspended from the ceiling in a dark room. The orb is lit up by a visual aimed to mimic a “viscous metallic fluid” that’s hue and tonality shift and become distorted, creating a futuristic, mysterious aura. The “glow” within the sphere is created from a powerful wide angle projector that uses a fish eye lens and can create 360 degrees images. By manipulating the audible frequencies, the installation is able to “respond” to the space though picking up and reverberating the sound back. ANIMA iki is able to create visual and sounds in real time by responding to a Kinect tracking system that has the ability assess movement within its atmosphere. As the orb has a complex interaction with light and sound, the installation is able to seem alive. The orb seems to be able to have a personal interaction with the viewer, creating a strange, interesting experience.
Founded in 2010 by Julia Laub and Cedric Kiefer, Onformative offers a space they describe as “guided by an emotional approach, we constantly search for new forms of creative expression. Through an experimental practice we create meaningful works to challenge the boundaries between art, design and technology.”
The work was originally commissioned for the Amsterdam Dance Event and has since been exhibited at various galleries in the Netherlands and Germany.
Flowers and plants glowing in the dark. These pictures are the result of a titanesque work performed on each nature based element by Robert Buelteman. The California based artist is not using anything else than flowers, photographic films, electricity and a fiber-optic probe to create his work. The result is captivating and intriguing.
Robert Buelteman starts his process by picking fresh flowers and plants from a field. He lays them onto a photographic film in darkness after scalping them until they are sheer. He then throws a 80,000 volts current with his car battery, illuminating their unique energy field and exposing the film to their ultraviolet corona. The artist painstakingly applies the fiber-optic probe, which is the size of a human hair. By tracing over the shapes, some light is reflected, some absorbed, but the light that penetrates the subject exposes the film with the color and form of its’ source. This method requires, for a one successful picture at least 150 tries.
This camera-free, non-digital process only uses the natural and genuine energy of the plants. A statement dear to Robert Buelteman, a former classic photographer, who decided to counteract the growth of digitalized photography by going back to simplicity and craftsmanship. His is attempting to demonstrate that creativity is in the hands of everyone, for the ones that are willing to put the work. And that a piece or art doesn’t need to have a particular meaning. He prefers to let the electrocuted flowers speak for themselves.
Robert Bueltman’s pieces will be displayed at Adler & Co Gallery in San Fransisco until December 28th 2015
Artur Birkle is a German photographer with an eye for the candid and playfully suggestive. He shoots across many fields, including editorials, portraits, and reportage photography. His style is always distinct: high flash, casual poses, and accentuated body parts. Skillfully capturing the energy of his models and their intimate gestures, Birkle’s works allude to eroticism, rather than overtly display it.
Two series from his portfolio are shown here, Fruit Salad and Personal. The former features fruit in erogenous situations: a banana anointed with a thick, creamy liquid; apples strategically placed over breasts; a plum resting on someone’s tailbone. The sexual imagery of fruit has been explored before in art (and our imaginations)—i.e., the phallic resemblance of a banana—but Birkle does an excellent job accentuating the eroticism in a clean and simple manner. The skin texture and individual hairs of his models lend the images an honesty that heightens the viewer’s curiosity.
The Personal series has the same lighthearted tone, but with a softer, more sensual edge. These images are like viewpoints into private moments, buzzing with the after-burn of intimacy. Events such as twilight window-gazing and partially dressed bodies are documented in his fragmentary style, enticing us with a piece of the story and allowing our imaginations to fill in the rest. Birkle captures the nuances of physical expression in clever and unique ways.
Birkle is currently studying photography and media at the University of Applied Sciences in Bielefeld. You can view more of his works on his website, Instagram, and Tumblr. (Via Art Fucks Me)
Tilt-shift photography is becoming increasingly popular in the mobile photo editing world. Even if you’re not sure what it is exactly, you’ve definitely seen it on your social feeds, and after reading this article, you’re definitely going to have a lot of fun with it.
Ready? Let’s jump right in!
So…what is it?
Tilt-shift photography is a technique that has several different uses, but nowadays, its most common use is simulating a miniature effect.
Okay, how do I do it?
Simulating tilt-shift photography is actually pretty simple. There are lots of mobile photo editors out there, but the one we are loving right now is called PicsArt Photo Editor. They just came out with a Tilt-Shift Tool that’s really easy to use, but this app really shines in all the different ways that you can personalize your shots. But let’s talk about what you need to do.
Artists Mariana Fantich from Ukraine and Dominic Young from The UK have teamed up to create a collaboration known as Fantich & Young. Their latest project, Darwinian Voodoo, aims to merge two seemingly opposing bodies of thought, Darwin’s theory of evolution and the ceremonial ritual aspects associated with Voodoo, allowing them to indulge in a super-natural exploration. Through reappropriating and mimicking the aesthetic of ceremonial dress and placing it within the context of an evolutionary-based system, Fantich & Young allow themselves to create something that is no longer real nor super real, but entirely its own entity. They have manipulated the notion of a theological super-natural by shaping it to fit an aesthetic discourse of scientific truth, provoking a sort of mythical, yet superior lifestyle. The work is created from “symbolic ready-made materials…address[ing] parallels between social evolution and evolution in the natural world: Nature as model or nature as threat.” The work seems to simultaneously address that humans are, in fact, at the hands of nature, and that humans do, in fact, have the power to manipulate their own genetic fate. Perhaps aspects of contemporary life we do not associate with the “natural” world, i.e. social media and fashion, are actually a part of a modern day survival of the fittest.
They are branding their project as “a new pedigree lifestyle,” the collection itself being titled Apex Predator. The collection “features male and female ceremonial attire customised with human hair, bones and eyes. Collection includes shoes, accessories and perfume laden with thousands of dentures.” (Via designboom)
We’re glad to introduce, via the website building platform Made With Color, new artists weekly. Made With Color is an interactive website builder helping creative people design their portfolio without a complicated set up. The templates are minimalistic in their structure and their colors, allowing the eyes of the readers to focus on the art pieces. This week we’re excited to share the work of Made With Color userEmmett Potter.
Vibrant colors and figurative shapes live in Emmet Potter’s art pieces. The artist uses mid 20th century comic graphics, advertisements, found objects and photography. His subjects therefore become mixed media pieces blending collage and paint. He calls them ‘handmade ready-mades’. Characters in action involving guns, missiles, love and war in a vivid andexpressive environment. The content depicted by Emmett Potter is inspired by Pop culture and Jungian archetypes. A chosen process to help increase communication with the mass and unfold collective consciousness. The rendering takes the form of traditional canvas paintings or unusual sculpture composition.
Paul Fryer is an artist based in London, England. We featured his works in 2011, but his stunning sculptural installations—which explore agony and human folly in passionate tandem—warrant a second examination. His works unsettle the cultural imagination by coupling mortality with religious imagery, depicting human figures on the verge of destruction and death.
One notable work is a sculpture of winged Lucifer, thrashing amidst a net of telegraph cords that suspend him above the altar steps of the Holy Trinity Church, Marylebone. This piece was part of a solo exhibition called Let There Be More Light, shown in October of 2008. The dramatic lighting casts Lucifer in dramatic shadows, and his tarnished, corpse-like skin gleams with antiquity and the torture of life-within-death. This work signifies the fallible human, and the chaos and terror of one’s own making. The venue—with its stained glass windows and domed ceiling—provides the perfect space for this dramatic, allegorical scene to unfold.
Also shown here is Fryer’s “Blue Pieta” (2010), the martyr in the electric chair, and Lilith (2010), a fallen angel bound to a platform by golden wires. In more recent years, Fryer has created jellyfish-like sculptures out of Murano crystal. You can view more of his strange and dark world on his website. (Via Empty Kingdom)