Dutch artist Tim Enthoven’s illustrations are both provocative and fun. His art is so rad, I love the way he incorporates humor into his work.
Kim Burke’s miniature food sculptures are so realistic you’ll want to eat them in one bite. Inspired by the photorealist movement, Burke creates flawless dollhouse-scale meals from actual photographs, positioned at various angles for maximum accuracy. Each plate of food, so small as to be balanced on a human fingertip, is carefully rendered from clay using needles, razor blades, and a rock for texture. Chalk pastels add color. For cake frosting, Burke uses Translucent Liquid Sculpey mixed with solid clay. The artist’s company, Fairchild Art, offers a range of plates, from sweet to savory dishes, each at a 1:12 scale.
Burke’s passion for dollhouse accessories began as a hobby in 2008, but soon blossomed into what she calls an “obsession.” The work is painstaking and each piece typically requires one to three hours of full concentration, but the result is well worth it. She says of her process, “every time I make something new I always try to add something extra to make it even look more real.”
Decadent and indulgent, Burke’s tiny masterpieces combine the sensuousness of a Caravaggio painting with the whimsy of childhood play. Like Caravaggio’s Still Life with Fruit, each piece is entirely inedible yet invites a mouthwatering appetite. Burke’s delicate fruit baskets emerge like Eden’s forbidden fruit in miniature, igniting the imagination and uninhibited delight. Poignantly small, they remind us of the preciousness of our humanity. When seen on a plate the size of a penny, the most familiar food stuffs become miraculous and spellbinding. Made with tender love and care, the diminutive plates suggest our own fragilities and vulnerabilities. Take a look. (via Demilked)
Welcome to a myriad of details in an evolving fractal landscape. Courtesy of SubBlue. Watch the full video after the jump.
For anyone who grew up in the 80’s & 90’s, Hiroyasu Sakaguchi’s House T will look vaguely familiar, namely because House T is laid out like a level in Mario, or most other Nintendo games for that matter. All the spaces in a house that we have gotten used to as individual, semi-private rooms have been stripped of their walls and joined into one long inter-connected space. I love it because it reminds us of the tension between psychological and physical space, how we compartmentalize various aspects of our life into respective spaces. House T reminds me of Gordon Matta Clark’s work, albeit much cleaner, Japanese, and way less punk rock, but the altering of our perception of space is in them both. (via)
I love Jason Rood’s illustrations and the way he incorporates his sense of humor into his work. Especially his beard series; so tight!
Maximilian Toth’s beautifully composed chalkboard style paintings depict teenage antics as being not so much about rebellion from authority, but more so, as a series of actions radiating acute aliveness. While favoring the color black, Toth’s strong pops of brightness light up the narrative, mid-action, exposing a new playground of discovery. For instance, there is a certain innate enigmatic pleasure in joyriding a shopping cart around town, simply because, for the first time, without parental supervision, it’s possible. Toth’s work happily meditates on this and other pockets of teenage euphoria without an imposed stringent sense of morality.
While in Dubai & Sharjah I had the chance to see some amazing arabic and persian calligraphy. If you’ve ever been into typography or graffiti you will surely walk away from this region with a renewed appreciation for the amazing calligraphy you find around every corner.
Here is a small selection….