In his unconventional series, Raíces Aladas (Winged Roots), Spanish artist David Cata explores the possibilities of plant growth by transplanting vegetation into an unusual and unheard of herbaceous foundation: the palm of his hand.
For this project, Cata physically manipulated his hands in order to create a sustainable—albeit temporary—basis for plant habitation. By strategically peeling a designated layer of skin from his palm, Cata was able to create a small, vacant pouch. He then filled this compartment with soil, and, finally, with transplanted flora, which he then documented and compiled into a photographic series.
Much like A Flor de Piel—a preceding series in which the artist used a needle and thread to stitch sentimental portraits onto his own skin—Raíces Aladas presents, challenges, and defies known limitations of the human body—and, ultimately, effectively proves its opportune abilities as a canvas for artistic expression. (Via Design Boom)
Incorporating a vintage vibrant palette of collectibles, wood, paint, and hardware, Mac Premo, who is also an Emmy Award-winning animator, imaginatively concocts assemblage pieces that feel like personal homages or inventions.
Premo suggests, mash-ups evoke a certain surreal and instinctive attraction where– “Only through engaging in the almost absurd cycle of macro systems do you find things worth living for, like your wife, baseball, or a handsome piece of wood.”
Vladimir Kato grew up in the urban environment of Yugoslavia in the 1980’s, influenced by the anarchy, graffiti and punks that inhabited his city and surroundings. Much of his imagery comes from comic and pop artists of the time. After moving to Canada, he gained an education from The Interpretive Illustration and Classical Animation Programs at the Sheridan College of Art and Design . He is now an artist, illustrator, and cartoonist for several recognized magazines and clothing companies. His new show examining wild animals, entitled “Wilderness,” opens June 4th at the Show & Tell Gallery in Toronto, Canada.
There is a reason why Amy Bennett‘s paintings look like dioramas. In fact, it is part of her process to build miniature dioramas of various scenarios before the painting process begins. When completed, these miniature constructions are used as models for the pieces you see here. The paintings, she says, are “glimpses of a scene or fragments of a narrative. Similar to a memory, they are fictional constructions of significant moments meant to elicit specific feelings.”
This arduous process is perhaps a way to reconstruct the process of memory making itself. When we construct memories, we are feeling and living that specific moment. When we are trying to reenact or recall that memory, it all feels distant, blurry, and small. In this case, the painter’s initial construction (the physical building of the diorama) and re-constrution of it (trough painting) mirrors this process.
I am interested in storytelling over time through repeated depictions of the same house or car or person, seasonal changes, and shifting vantage points. Like the disturbing difficulty of trying to put rolls of film in order several years after the pictures have been taken, my aim is for the collective images to suggest a known past that is just beyond reach.
Bijan Berahimi is a Los Angeles local designer, illustrator, publisher, and more. He has recently updated his website with fresh works from posters, to postcards; web sites to exhibits. His work is light-hearted and welcoming, full of color and suprises. Bijan also publishes an e-zine titled FISK – a growing resource for designers – a platform for discussion & participation.
Wyld File is a group of Flash animators creating work that’s pretty much in the same vein as Paper Rad‘s stuff. In fact they may very well be the same people, judging from the amount of times Paper Rad is referenced on Wyld File’s website. I think my favorite part of their gimmick is their parody (I think?) of Dogme 95, purporting that their brand of Flash animation is revolutionary and pushes Flash to its limits.
As Paper Rad puts it ,”A lot of cool shit was done in Flash, but there was never anything really that looked so funky that pushed Flash behond it limits, into an arena where the very tools of Flash have eaten themselves and caused a creative process to evolve against all the things Flash isn’t supposed to do.”
Paper Rap insists the loosely based value system “Dogman 99” consisting of the rules “no Wacom tablet, no scanning, pure RGB colors only, only fake tweening, as many alpha tricks as possible”…
adidas collaborated with a renowned performance artist Marina Abramovic to create a short film for the 2014 FIFA World Cup. Video takes inspiration from Abramovic’s 1978 performance Work Relation and explores the notion of teamwork and parallels between sport and performance.
Same as the original piece, the reenactment features a group of 11 people (a reference to the number of soccer/football players on the field) transporting stones from one side of the court to the other. They are all arranged into three contrasting models: a couple, two individuals and a human chain. By doing so, Abramovic explores the contrast of cooperation and efficiency.
Work Relation was a perfect piece for adidas to pay tribute to its partnership with the 2014 FIFA World Cup. According to Abramovic who appears in the video herself, she sees a broad affinity between sport and performance.
“One similarity that I wanted to highlight in this video is the importance of group collaboration. <…> I believe that it is important to learn from other disciplines in order to bring new life to whatever it is that you do.”
The black and white video was shot by SHOWstudio in the manner of early motion cinematic experiments. All participants are dressed in their personal clothes, however they all wear a white lab coat from Marina Abramovic Institute and adidas’ Samba sneakers. As the performance author explained, the apparel was meant to create a sense of collective experimentation and mute external distractions.