Japanese artist/designer/architect (and construction worker?) Yusuke Oono was thinking beyond flat when she conceived her 3-Dimensional art books. First designing the layouts of each book (which includes titles like Sweet Home, Jungle Book, In A Cheese, and a 360° Christmas Book) by hand and with the aid of design programs, Oono then uses a laser-cutter to carve out the highly-detailed dioramas that make up each page of the story. These pages are then bound together, creating a compiled book which more than pops out, but can be read in 360°.
Photographer Cyril Crepin creates an extraordinary, poignant collection of photographs featuring portraits of facial reconstruction patients within the confines of the hospital in which they were operated on.
With the help of Professor Bernard Devauchelle, a leading surgeon at the hospital in which these individuals were in, Crepin photographs these subjects in order to celebrate, but most importantly, accentuate these individuals’ self-respect, playfulness and courage regardless their ‘monstrous’ appearance after surgery.
“They want to be recognized as human beings. Contrary to what people might say about this series, it’s not meant to be obscene or voyeuristic. Obscenity is to ignore their humanity and their extraordinary courage.”
Crepin’s work is emotionally intense and it is by no means easy to look at. It is sad to say, but many people will have a tough time looking at these just because of the deformities. This consequence is tough to acknowledge, but it is true. It is hard to admit that many of us will be disturbed and disgusted by the appearance of these people, but it is this sole purpose that, I think, runs Crepin’s artistic fuel throughout the creation of this series. The rawness of his subjects’ gaze and the fearless aura they portray is powerful and inspiring… their brilliance transcend the normative ideas about beauty. Their humble controbution to Crepin’s work teaches us that everyone, no matter what they went through or how they look like, deserves a little self-praise and respect.
Russian artist Pavel Platonov experimented with origami because of his inclination toward sharp, angular, geometric forms. Better known as a photographer who works with a unique and surreal type of portraiture, Platonov’s sculptures have a reflective quality to them, allowing a viewer to learn something about himself while observing the work. Bizarre and often placed in natural settings Platonov’s pieces allow a viewer to encounter and react to discovering something strange and out of place.
Interested in the idea of a final image juxtaposed with the process of achieving that final image, artist Marc Fichou experimented with the conceptual process of folding, and unfolding, origami forms. Drawing attention to the way our mind makes the connection between the two contrasting images, which don’t directly or immediately resemble one another, Fichou creates works that are visually compelling, and intellectually engaging.
Born to teenage, Mexican-American gang members, artist Gerardo Hacer escaped to fantasy worlds via the art of origami. Learning to make paper cranes at some point during his stay in a string of foster homes Hacer combined that outlet with an inspiration found in Calder’s Los Angeles sculpture, “The Four Arches.” Hacer decided to become an artist and even changed his name, “Gomez-Martinez,” to “Hacer,” which means “to make” in Spanish. Hacer became a sculpture who creates large-scale origami forms, engaging his original love for origami with his desire to create substantial and impressive works of art.
Taking images from auction catalogs, artist Kour Pour translates intricately-patterned carpets onto paneled surfaces. The multi-step process is labor intensive, not to mention large – his work is 8 feet tall. First, Pour scans in the image of a rug and burns it on a silk screen. Then, he uses a broom to begin his underpainting (the texture gives it an appearance of a textile). Afterwards, he silkscreens the design to the panel and begins the work of painting every painstaking detail. The final step is to use an electrical sander to erase the painted surface and expose the layers of the under-painting. What results is work that looks like an faded, well-worn rug.
Pour is both British and Persian, and when he was younger, his father owned a rug shop in England. His work is tied to this past, as he explains in his artist statement:
Carpets were a part of my childhood growing up in England. I remember my Father’s rug shop, and how he would hand-dye sections of carpets that had faded away, in order to bring them back to their original colours. I felt that in doing this, my Father was making an effort to maintain all their history and meaning, as if he was bringing the carpets back to life. When I first moved to Los Angeles I had feelings of displacement and much like the faded carpets, I too felt a part of my history disappear. I started the carpet painting series and noticed how art and objects could play an increasingly important role in our diverse society. Through making these paintings I am constantly learning more about my background and the rich mix of culture that surrounds me and the carpets.
By recreating carpets, Pour highlights their meaning as object, as well as the implications of their surface design. They signify an object of privilege (as their originals come from an auction catalog), and our commodity-based consumer culture. Beyond that, the patterns of animals and men on horses is representational of globalization, a culture’s history, and more. (Via Bmore Art and Flat Surface)
Using the natural shapes and contours of the body, German artist Gisene Marwedel transforms the human body into a living, breathing work of art. Marwedel paints finely detailed images, ranging from animals to landscapes to abstraction. She first learned the art of body painting while in India, where she began painting with henna. This skill evolved into a full-time hobby (she has a day job as a speech therapist). Her work depicts scenes of movement and grace with a hauntingly surreal aesthetic. (via mirror)
The first quality one may see in the brightly-colored, bent steel pieces by Rana Begum is the potential to shift based on perspective. From one angle, viewers will be confronted by a flat, monochromatic shape jutting from the wall, while another view offers more intricate geometric patterns spreading across several pieces. This is the legacy of Sol Lewitt, Donald Judd or Agnes Martin – to take the simplest shapes and through color, form and collection, imbue them with complexity and depth. As Begum explains, “Its so beautiful the way the simple form and shape can be repeated to create a space like that”
Though Begum lists these more modern artists as influences, theBangladeshi-born, London-based artist also explains that the Aniconism (belief in avoiding/outlawing representations of divine beings, prophets or any human beings in religious imagery) traditions of Islam were equally influential. This tradition was responsible for the exquisite geometric and intensely detailed works seen in classical Islamic architecture, a connection which is apparent in Begum’s deceptively simple works. ”For me, architecture evokes memories of reading the Quran as a child in a mosque in Bangladesh,” said Begum in an interview with Surface Magazine’s Marina Cashdan, “which was bare, simple, and had a lot of light coming in through the windows.” This shifting imagery can be seen in her works, where repetition and simplistic elements collectively offer complexity.
Begum’s most recent works often uses paint on Origami-like, bent mild steel and powder-coated aluminum, but she has also begun using brass and copper as a base for her wall sculptures. “[They are] materials I spent a long time researching and I’m excited to use them for this show,” she says. “They bring an extra dimension to the works” (via wallpaper* and surface)
Helsinki, Finland is already known for its beautiful landscapes, sonorous Baltic coastlines and for its focus on civic design (the city having been named the World Design Capital of 2012). To celebrate this honor, Helsinki tapped Madrid-based design firm Lighting Design Collective (LDC) to create a permanent urban art light piece.
Named for the repurposed oil silo, Silo 468 is a project for the cities residents to enjoy from the inside and out. The silo’s walls feature more than 2,000 perforated holes which echo ideas of a traditional lighthouse, displaying an incredible light show for Helsinki’s Kruunuvuorenranta district. While the coastline is illuminated by the modern lighthouse, the inside of Silo 468 offers a different, more intimate experience. Painted a deep, captivating red, there is an additional light show for citizens to enjoy.
The Director of LDC, Tapio Rosenius, fully explained the project. “At night 1250 white LED’s flicker and sway on the surface of the silo controlled by a bespoke software mimicking swarms of birds in flight – a reference to silo´s seaside location. The prevailing winds, well-known to those living in Helsinki, are used to trigger different light patterns in real time.
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