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Julien Breton Creates Brilliant Calligraphy In The Air Using Colored Light And Expressive Dance

"Fraternité - Brotherhood," Arabic calligraphy. Jodpur - India  (2012).

“Fraternité – Brotherhood,” Arabic calligraphy. Jodpur – India (2012).

"Dead's Place," Abstract calligraphy, New York - USA (2012).

“Dead’s Place,” Abstract calligraphy, New York – USA (2012).

"La beauté - The Beauty," Arabic calligraphy, Tetouan - Marocco (2015).

“La beauté – The Beauty,” Arabic calligraphy, Tetouan – Morocco (2015).

"Compassion," Arabic calligraphy, Issé - France (2014).

“Compassion,” Arabic calligraphy, Issé – France (2014).

In a stunning series of images that blend photography, calligraphy, and performance art, Nantes-based artist Julien Breton (aka Kaalam) uses light and dance to “paint” beautiful and fleeting characters into the air. Inspired by a combination of Latin and Arabic writing styles, each piece is captured on long-exposure film while the artist creates his inscriptions using colored lamps and careful, intention-filled movements. As a living, artistic response to the environment, the designs are matched in compositional harmony to the surrounding backdrop, be it an underpass in New York, an abandoned building in France, or a magnificent hall in India. Each performance lasts several minutes and is then transformed into a single frame, transcending the boundaries of time and our perception of light.

On his biography page, Breton is quoted as explaining his choice of medium, which is rooted in a synchrony of bodily and spiritual practice: “a white sheet is too limiting. To paint on a canvas, however large, means in any case a limit within which I do not feel myself free to express my whole being. Only light is really infinite. The only limit is the air” (Source). Exploring infinitude, Breton’s images demonstrate the seemingly contradictory nature of light; it is bright and endless, yet also fleeting and enveloped by darkness. Both presence and absence are at play in the photographs; the artist disappears while his physical, expressive “trace” (the writing) remains behind. In these pieces, subjectivity and self-expression become greater, geometric portraits of universal energies.

All photographs by David Gallard. (Via designboom)

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Stephanie Calvert Transforms Decades Of Trash Collected By Her Hoarder Parents Into Sculptures

Stephanie Calvert - Sculpture 1 Stephanie Calvert - Sculpture 6

Stephanie Calvert - Sculpture 9

Discovering Stephanie Calvert’s artwork is entering her world of shame. To break free from the memories left from her childhood, the feeling of discomfort due to her parent’s hoarding and her denial through all these years; she has come up with large sculptures on which she accumulates the symbols of her heavy past.

Stephanie Calvert was raised in a school house in the middle of a prairie in Colorado. With no electricity or hot water, she grew up feeling embarrassed of her living situation. Her parents were hoarders, piling up junk in every corner of the house. After she, her siblings and parents left their home town to pursue their life, the school house was left abandoned, in the middle of the prairie.

The artist eventually moved back for a while to explore the house ruins and the deep hole it had created inside of her. White taking care of her mother who had encountered a severe bike accident, Stephanie Calvert decided she needed to rekindle with her family, therefore her past. This process meant that she would have to dig into herself and face the feelings she had avoided during all these years. She went back to the school house and lived there, back to her childhood lifestyle. She then started to create, paint, collage and carve; letting out harsh feelings on the canvas. The sculptures are the expression of her past, shame and hope. They imitate the hoards she witnessed, although this time they represent the future, a message of promise and optimism to the ones that can relate to her story.

Stephanie Calvert is currently looking to exhibit in NYC next November 2015.

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Life Imitates Art: The Lexus Hoverboard Is A Magnificent Display Of Science And Imagination

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Lexus’ gravity defying hoverboard is a perfect balance of science and art. From an aesthetic standpoint, the board resembles a classic skateboard deck minus the wheels and with a grooving underneath made specially for rail slides and other tricks of the like. It is the inner workings of the board that are a truly fascinating display of physics: The deck has superconductors embedded in it, the temperatures of which are regulated with the help of nitrogen coolers.

This particular combination, referred to as ”spectacular and complicated” by one of its creators is what allows the board to defy the properties of gravity and thus remain elevated. So far, the board has been tested out by various amateur and pro skaters on a specially designed magnetic skatepark. Although it may look like a smooth ride at first site, the Slide actually presents a number of challenges when it comes to maintaining balance. The fact that the board is devoid of contact from the ground forces the person riding it to adapt to the lack of balance. Pro skater Ross McGouran even said it felt like he was “learning all over again”.

The junction of art, design,and physics is what makes this project even more worth treading about. The artistic aspect of this hoverboard is truly trans medium in the sense that many people will be instantly reminded of Back to the Future, and the key presence of the hoverboard in the film’s depiction of the year 2015. With this, Lexus has already paved the way for innovation and swift progress towards a future where skateboards may not need wheels, magnetic surfaces, or even gravity.

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Baptiste Debombourg Creates A Celestial Installation Made Out Of A Thousand Chairs

Baptiste Debombourg - Installation 10 Baptiste Debombourg - Installation 11

A thousand chairs creating chaos in the middle of a plaza. Baptiste Debombourg is the messenger from the skies. With his installation ‘Stellar’ he transports us above and beyond infinity. A snapshot of a movement, dancing chairs all linked in the air to connect with the public once landed on the ground, is the artist’s vision for this temporary installation.

It took Baptiste Debombourg 1200 chairs, 300 meters of steel tubes and 11 months to set up the installation in the middle of plaza du Bouffay in Nantes, France. Chairs are an important part of the six coffee shops symmetrically facing the plaza, they are the symbol of conviviality. Imitating that concept, he created the installation, structured yet taking us elsewhere, a relaxing place. From each coffeeshops, the sculpture can be perceived from a different angle; creating a different point of view.

Baptiste Debombourg was inspired by the French artist Robert Delaunay’s installation exhibited in 1937 (see the black and white photo far below). The shape’s roundness and exhilarating feeling is reproduced, except the artist chooses to incorporate ordinary materials: chairs that come in six different colors. His purpose is to nourish the eyes, to get a reaction and to defy specific contexts. In many of his installations he is not afraid to deconstruct and recompose, preferring being close to reality and see his work alive.

Baptiste Debombourg’s ‘Stellar’ installation can be viewed at the plaza du Bouffay in Nantes, France until August 2015.

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Sarah Cameron Sunde Stands In The Ocean For 12 Hours Letting The Tide Rise And Fall Over Her Body

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Artist Sarah Cameron Sunde’s recent performance project 36.5 is what she refers to as a “durational performance with the sea”. In this project, she stands in an urban bay for the duration of a full tidal cycle, during which the water envelops her body and then recedes, while she remains still. The whole process takes 12 to 13 hours, during which she does not shift her position. This underlines the major role of time in her work, which she refers to as a “time based art project” At first glance 36.5 looks like a display of great endurance but, it goes beyond this, in the sense that her endurance comes with a message.

Sunde is staging a commentary on the relationship we have with water as individuals and on a greater scale as a civilization. She illustrates the rapid change of climate, as well as the impact we have on water and the impact it has on us. Her project is deeply anchored in the notions of time and change which she materializes by her presence within the process of the changing tide. Through this, she also aims to examine the “temporary nature of things”, such as the changing tides, or our physical existence. Her project is all the more interesting in due to the fact that she allows and encourages the audience to participate, thus creating a dialogue and underlining the significance and impact of such a piece. She has the plan to make her project go global in order to paint a bigger picture on an international level.

Sarah Cameron Sunde’s 36.5 has already taken place in Main, Mexico and California and will be taking place in Amsterdam and Venice .Photographs by Gus Ford and Irina Patkanian

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Azuma Makoto Installs A Dazzling, 13-Foot Floral Tower In The Middle Of The Ocean

Azuma Makoro - Installation Azuma Makoro - Installation Azuma Makoro - Installation Azuma Makoro - Installation

Off the coast of Hinoba-an in the Negros Islands region of the Philippines, artist Azuma Makoto has constructed a floating, 13-foot-tall bouquet of Heliconia flowers and banana leaves. Shimmering against the ocean horizon in stark contrasts of red, green, and blue, the installation rises like a paradisiac mirage. Entitled “In Bloom #2,” the project juxtaposes terrestrial environments with the sea, bringing art and floral life where there would otherwise be open space. The following artist’s statement describes the construction and context of the art-island:

“A 4-meters long botanical sculpture consist[ing] of approximately 10,000 red Heliconia [was] installed on a simple raft used by the local fisherman. With nothing block[ing] the harsh sunlight, blown by salted water, the sculpture of flowers quietly floated in the cobalt blue ocean. The ocean accounts [for] 70% of the surface of the earth, and therefore it created [a] magnificent stage for the project.” (Source)

Following “Exobiotanica” — an exceptional project wherein Azuma sent boticanical arrangements into the stratosphere — “Bloom #2” demonstrates his creative goal to explore the visual and thematic effects of putting flowers in “environments where nature does not allow them to exist” (Source). The result is a detached form of beauty. Azuma’s work brings up questions of nature and place, and, by doing so, fosters an appreciation for the Earth’s harsh, disparate, and yet ultimately connected environments.

Click here to watch the video documentary of the construction of “Bloom #2,” and be sure to check out Azuma’s website to view more of his projects, including a collection of beautiful flowers embedded in ice, which we featured earlier this year. (Via Spoon & Tamago)

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The Unsettling Sculptures Of Sasha Vinci Drip Flesh And Carnage From Their Bodies

Sasha Vinci - Mixed MediaSasha Vinci - Mixed MediaSasha Vinci - Mixed Media

The nightmarish sculptures of Italian artist Sasha Vinci are both alluring and unsettling. With the human body often being his subject, his work portrays a sense of longing, a palpable sense of a tormented soul. Having work with titles like The Eternal Wait and You Are Here You Exist, the suffering of human existence is strongly felt. Ripe with emotion, his mutated figures look for a sense of belonging in the world. His fleshy subjects seem to have skin that melts off their feet and hands, binding the two together. Vinci’s subjects are trapped by means of their own body, perhaps a metaphor for humanity’s own self-destructive nature.

Although monochromatic, we can almost see the color of flesh and blood absent in many of his sculptures. In his artwork titled The Eternal Wait, the drips of flesh coming down from the entire body add an intensely graphic, carnal element that is extremely alarming.  We cannot see the face in this or any of Sasha Vinci’s figures, adding another layer of isolation to these already lonely creatures. One of Vinci’s more disturbing sculptures is The Hung, where a person’s body, or what’s left of it, is being hung. The body has been disfigured, with half of its limbs missing from its faceless body. The artist’s work forms a truly ominous atmosphere that draws you in while at the same time chilling you to the bone. Sasha Vinci, being a multi-talented artist, also creates work in mediums such as installations, performance, painting, drawing, and writing.
(via Hi Fructose)

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Pin-Up Model Bunny Yeager Captures Herself And Bettie Page In Intimate, Alluring Photographs

Self Portrait in Black Lingerie with Camera and Mirror, 1955

Self Portrait in Black Lingerie with Camera and Mirror, 1955

Bettie Page Reclining on Sofa at Coral Gables, FL, 1954

Bettie Page Reclining on Sofa at Coral Gables, FL, 1954

Self Portrait in Polka Dot Bikini with Rolleicord Camera, 1963

Self Portrait in Polka Dot Bikini with Rolleicord Camera, 1963


Original personal and behind the scenes photographs of infamous pin-up models Bettie Page and Bunny Yeager are now on view at the art gallery Gavlak, in Los Angeles as part of the exhibit How I Photograph Myself. You may think this is a strange title, but it actually refers to a book that Bunny Yeager herself wrote during her lifetime. Born in 1929, Yeager was not only a wildly successful pin-up model, but also a photographer herself who very often took her own photographs. She came into modeling after meeting actress Bettie Page shortly after studying photography at Lindsay-Hopkins Technical College. Bettie Page asked Bunny Yeager to photograph her, and Yeager eventually began modeling herself. She was not only an accomplished photographer and model, but also a scriptwriter and author, publishing How to Photograph Nudes and How I Photograph Myself, hence the exhibition title. These books went on to influence such well-known photographers as Cindy Sherman and Diane Arbus.

What is so interesting about these photographs, besides the obvious appeal and seductiveness of the pin-up style clothing and curvy women, is that Bunny Yeager was able to become so successful both as the photographer and model; the artist and the muse. Her femininity and beauty was laid out on a silver platter as a model, yet she could be taken seriously in a time when men dominated almost any scene. To portray yourself in such a sexual way and also sought after as a woman in your craft would still be an accomplishment today, let alone in the 1940s and 50s. Bunny Yeager was able to work against the traditional male gaze, and create her own photographic style that is both delicate and alluring. How I Photograph Myself will be on view at Gavlak from July 25th to August 29th.

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