Imagine a recorder made of a hollowed-out carrot, a guitar carved from celery. Using knives and drilling machines, the one-of-a-kind Vegetable Orchestra constructs their instruments entirely from fresh and dried vegetables, mimicking the sounds of everything from bass drums to airy flutes. Because the Vienna-based band works with organic materials that perish or dry out after a single performance or recording session, they must continually create and reinvent the tools of the medium.
The group currently has thirteen members. Since its inception in 1998, The Vegetable Orchestra has been dedicated to incorporating the talents of musicians, visual artists, writers, and designers, all of whom have equal say and contribute to a unique multimedia experience. The aesthetic figures prominently into the work, and the rich colors of the fresh instruments is given much thought. With their unusual instruments, orchestra hopes to draw out and make visible the vitality and potential of the natural world.
The Vegetable Orchestra travels around the world, creating immersive artistic spaces; at concerts, they play music, screen video performances, and offer audience members a fresh bowl of tasty vegetable soup that they charmingly refer to as the edible “encore.” The orchestra’s sound is certainly unlike anything we have ever heard. Though many instruments—like the pepper horn and the pumpkin drum— nearly replicate the sounds of familiar instruments, others sound entirely foreign. Inspired by seemingly discordant styles like house music, dub, electronic, and free jazz, the orchestra draws inspiration from diverse sources, composing syncopated pieces that are both chaotic and restrained. (via Juxtapoz and Lost at E Minor)
Celebrated artist Alberto Giacometti once said, “The object of art is not to reproduce reality, but to create a reality of the same intensity.” Giacometti was an artist noted for his abstraction and deconstruction of the human form, which he depicted through a multitude of sculptures, paintings and drawings in elongated shape and scumbled lines. Figurative paintings and portraiture are nothing new, yet subgenres of portraiture continue to emerge, survive and move us. The common phrase “Beauty is in the eye of the beholder” aptly applies, and the activation of perception, observation and process are represented in beautiful and intricate ways in the four contemporary artists whose work is featured here. Featured artists include: Karim Hamid, Colin Chillag, Borondo and Angela Fraleigh.
These disturbing sculptures, created by Jessica Harrison, seem to be made out of real, fleshy skin and hair. For your relief, that is not the case; they are actually made out of the casts of the palms and back of the artist’s hands. The artist chooses to photograph these sculptures against real skin, her hands, to trick her viewers into thinking that the actual sculpture might in fact be an extension of her body. Blurring these boundaries and limits of the body, Harrison provokes questions about perceptions and bodily shapes in relation to the two of the five sense, touch and sight.
Her research considers the relationship between interior and exterior spaces of the body, but looks neither inwards towards a hidden core, nor outwards from the subconscious, instead looking orthogonally across the skin to the movement of the body itself, using the surface of the body as a mode of both looking and thinking.
Venice, Italy-based artist/illustrator Jacopo Rosati does these felt collage illustrations that are really cool. Rosati, whose clients include -among others- Wired Magazine, The Wall Street Journal, and Geico, has a nice sense of color. Each piece really pops and the felt adds a unique texture to his work. The images are so subtle, but they communicate everything they need to through the artist’s clever, economical character design. The superhero piece (above) is especially great. (via)
Founder of Los Angeles-based architecture and design studio Urbana, Rob Ley has yet made another venture into the world of interactive architectural installations. This time large-scale. His project “May-September” features a field of 7,000 angled multi-color metal panels constructed onto the facade of Eskenazi Hospital in Indianapolis.
According to Ley, the project began when he started wondering about the typical notion of the parking structure. Often these huge concrete constructions are unappreciated and ignored by public. Ley posed himself a challenge to turn it into a dynamic system that would interact with the viewers as they pass it by.
Together with Indianapolis Fabrications, they’ve built a huge angular aluminum and stainless steel installation (12,500 square feet) that also features an east/west color strategy (yellow and blue). The visual experience of changing colors and patterns depends on observers’ perspective and speed when they move across the hospital grounds or drive along the street. The piece also interacts with nature as every sun beam or cloud can shape the hues and saturation of colors.
As in nature, the volume and shade offered by the piece shies away from harsh, geometric patterning – instead tending towards a gentle, dappled variability in form <…> [parts of installation] work together as brush strokes to create a dynamic façade <…>.
This is Red Bowl, an installation piece put on by Cao | Perrot studio (L.A./Paris) in Beauvais, France. The work draws its inspiration from hardship and pain (biblical lepers) but is actually quite pensive, complete with a small pond “covered with a veil of water lentils to create a soft green proliferating surface.” The concept of renewal comes forth pretty strongly as Red Bowl “recalls man’s moral dimensions and the belief in being able to purify the body of diseases by a bath of blood.” A couple more images after the jump but definitely take a look at what else is coming from this really nice landscape architecture studio. (via)
Interesting and illusionistic, artist Jen Pack‘s fiber-on-frame works take on elements of both painting and weaving. After spinning and stitching together colorful compositions of thread, chiffon & cotton, she stretches out the works on a wooden frame like a canvas, paying attention to the way the colors and textures interact on the wall. Her interest in abstraction and slightly meditative clustering or patterning of materials give the works a dreamy effortlessness, and they exist as a space for the viewer to step in and lose themselves in the reverie of observation.
From afar, the works feel bold—even slightly aggressive—but upon further inspection, each piece reveals a soft, extremely fragile surface quality, complete with tiny, wild threads left to catch in the breeze. The duality is pleasing, and Pack’s finishing of the pieces leave the fragments of fabric interacting like paint on panel, illuminated from within by meticulous layering and draping of translucent materials.
This has to be my new anthem for waking up on Sunday mornings. What we have here is an animated, sci-fi hip-hop odyssey through the state of Arizona. It’s 100% handmade with colored pencils, pens & paper and totally wacky! Video by Sean Christensen, Music by Star Beav & Erocc’n (make sure to read the titles of the songs on the itunes page…trust me.) Watch the full video after the jump.