Jakub Pollág, a designer who works alongside Václav Mlynář out of Studio DeForm, has created a device that he hopes will “democratize the tattoo industry”: a Personal Tattoo Machine. Now, people wanting to ink their bodies with personally meaningful art can do it in the privacy of their own home, bypassing the need for tattoo shops and long waitlists. The unit, as demonstrated in the video above, is compact, affordable, and comes with all the necessary equipment, such as tubes, rubber gloves, antiseptic lotion, and sterile needles.
“The aim is to enhance tattoos that are not about aesthetics, instead their main function is to reflect meaningful memories,” Pollág explained to Designboom. “Due to their permanent nature, it is important that they are honest and exclusive” (Source). This suggests that the intention, experience, and act of tattooing—that is, the commemoration of a moment, which will live as long as you do—is just as valuable as the finished piece.
Whether you still want to commission an artist to create your design (and many of us squeamish or less artistically-inclined folk may still choose to do that), or you trust your own creativity and steady hand, Pollág’s device is an intriguing idea for truly customizing your tattoo. It doesn’t get more personal than this. Learn more about the Personal Tattoo Machine here. (Via The Creators Project)
Artist Patricia Piccinini has a very impressive and eclectic range of artistic talents. Her body of work includes drawings, installations, and even a giant hot-air balloon that has floated across Australia. Her astonishingly hyper-real sculptures, however, truly give you an image that you will not soon forget. Made from silicone, acrylic, and fiberglass, Patricia Piccinini forms creatures that appear to be somewhat human, but altogether alien. They seem to be alive, as they stare back at you with emotion-filled eyes. They exhibit traits of humans, like lifelike hair and fleshy skin, but are unmistakably not. It is as if they are hybrid animals living amongst us. Many of her sculptures include one of her hairless, mutated creatures alongside of what appears to be a real human. The dichotomy between this possible mutated creatures and a “human” is interesting, because neither one is actually real.
Patricia Piccinini’s work explores ethical issues surrounding cloning, DNA, and genetic mutation. Her shocking sculptures point a firm finger at human kind’s manipulation of nature and the possible consequences. The effect science has on the natural world and the creatures inhabiting it are a reoccurring theme in Piccinini’s work. We see her sculptures that look so realistic; it is as if these grotesque creatures really do exist. Portraying them with human-like features gives way to pity and empathy for the creatures. The artist’s incredibly intriguing work is one of unbelievable skill that holds a strong, often controversial, message on genetic alteration and mankind’s hand in nature.
"View-Alters", Two Viewmatser Model-L Front Pieces, 2006
Los Angeles based artist Chadwick Gibson makes sculpture/devices that border on usability and absurdity by making the innards of various playground-use balls visible in his “Time Out Series” (can you still play tennis when your tennis balls are flipped inside out?), and combining the functionalities and inherent experiences in an elevator and a guillotine with the piece “Speed of Judgment” (mimicking a beheading followed by the sensation of floating above ones headless body).
Darla Teagarden is a former make-up artist, hair stylist, model, and writer whose diverse past shines through in her photography. Included in her work are hand-made and personally staged props that she uses to create a mythical setting for the viewer, rather than using digital means such as Photoshop. The rabbits, bees, and strange body parts that make each piece unique are staged at the time of the photo shoot and are not altered.
I’m not very knowledgeable in the field of commercial photography, but there’s something subtly funny about many of Bryce Duffy’s photographs. In fact, it seems a bit stupid to even call it “commercial” photography vs. just plain old photography. I guess the difference is that you can hire Duffy to create his artwork for you to particular ends. However, in most of his work there’s a sort of looming 70’s kitsch hilarity lurking just under the surface. Burt Reynolds photographed under a giant painting of himself? Genius!
Dreams, memories, and bodies melt together in the hazy, surreal work of Los Angeles-based photographer Davis Ayer. We featured his otherworldly landscape and double exposure shots last year, wherein Lindsey Rae Gjording eloquently describes him as a “true nostalgist” whose timeless work “allows the viewer to insert their own subconscious desires into the narrative” (Source). In regards to Ayer’s ability to compress emotion, time, space, and consciousness into his photography, this stunning series, entitled Time Travel, is no exception. Here, Ayer again pulls on the magic and semi-lucidity of dreamworlds, using nude bodies as a projection screen for vintage images; among them, you will see trees, beaches, rushing street lights, and the moon, all mapped onto the surfaces and contours of the nude body, turning skin into a visual narrative, like the one that plays in our heads as we close our eyes to sleep while remembering the past and visualizing our feelings.
What makes this series even more curious for discussion is the idea that the images and memories projected onto the bodies are not the models’ own. Certainly, our bodies are vessels of our own experience, but how much can we embody or touch the past? When we feel nostalgia for the “old days” and vintage culture, what are we missing or mourning? By projecting foreign memories (“foreign,” in that no one’s inner experience can ever be exactly simulated), Time Travel moves the human body — vulnerable, powerful, and honest in its nudity — through time and space, transcending memory and lived experience, and connecting a present lifetime with a past one in moments of intensity and reverie.
Michelle Ramin starts her gorgeously rendered drawings by photographing friends in various situations wearing ski masks. These images are used as metaphors for twenty-something hipsters playing dress-up to make the banality of the 40-hour workweek seem more enjoyable. Discussing the need to both hide and reveal ones unique identities, Michelle Ramin’s work is certainly one to watch.
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” As Christ’s representation is deeply rooted in the collective unconscious, “accessories” are not needed anymore to evoke it. However, the body is “trans-substantiated” into a feminine one. Emaciated subjects illustrate a concept which is more philosophical than liturgical. These abstract crucifixions reflect the powerless situation one faces when confronted with death.” (via i heart my art)