UK-based street artist INSA is known for combining animated GIFs with graffiti in a brilliant fusion called “GIF-ITI.” The on-going project entails him painting a mural several times over in slightly different interactions. Then, INSA combines each version to form an “animated” painting. The result is a dizzying, spectacular GIF.
The artists’ most recent endeavor is part of “GIF-ITI,” but on a much, much larger scale. Where before he would paint the walls of buildings, INSA got much more ambitious. WIth the help of a team of painters and a satellite in space, he created the world’s largest animated GIF in Rio de Janeiro, Brazil.
The entire laborious process is captured in a short video (featured here). It shows the four-days of painting and repainting, moving the lines ever so slightly to create the illusion of movement later. (Via Booooooom, Photoshop.com blog, and 123 Inspiration)
Italian photographer Massimo Gammacurta takes a candy already filled with sexual innuendo, the lollipop, and takes it’s meaning to a whole new level. However, these sugary delights are not the kind of candy you would give to a child. In his humorously titled series KamaSugar, he recreates positions of the infamous Kama sutra in the form of real, edible suckers. These explicit and surprisingly graphic candies are somewhere between a funny gag gift and very impressive skill. Obviously not made for the practical purpose of eating, these lollipops have brilliant colors that are rich and dripping with passion. Each cool blue and fiery red give the strikingly vivid positions a rise to a whole different kind of vibe. To add to this humor are the sometimes unfortunately placed lollipop sticks. Because the suckers contain shapes of people in which we can see through, we can spot yet another phallic shape sticking in the lollipop.
These sweet and sexy lollipops are not the only suckers that Gammacurta creates. This master of iconography has fashioned brand logos into candy as well. Being a commercial photographer as well as sly candy man of sorts, brands play a large part in Gammacurta’s life. He regularly photographs for Italian Vogue as well as other high fashion clients. His suckers have taken the shape of a many iconic symbols such as a Nike sign, a Channel logo, and the notorious Apple logo. These delectable pieces of art are so popular, that Gammacurta even has a book published dedicated to his entire Lollipop series of work.
Bethany Taylor’s spiraling and flowing threads create ethereal drawing installations that hold a keen eye to the shocking truth of our increasing water pollution issues. Each fiber-based drawing is formed by shaping and manipulating thread from woven tapestry. What makes Taylor’s installations so captivating is the fact that each “drawing” of hers is created from one single line. This line creates an energetic movement throughout the installation. The viewer can see where the thread begins and ends, as it appears to drip down the wall. Each image of a skull, snake, and algae seems to be unraveling.
Taylor’s installations in this series use motifs such as skeletons of sea life, skulls, and green and blue algae. These represent the effect chemical pollution in our lakes and rivers having on our environment. The artist is Assistant Professor of Drawing at the University of Florida. Because the ecosystem that surrounds Taylor is so prevalent with rivers and ocean, it deeply influences her work. Toxic blue-green algae have formed because of the incredible pollution, which in turn is severely harming, or “unraveling,” the balance of our ecological system. Her work shows the consequences of the pollution by creating delicate drawing installation that seem as fragile as their counterparts that are unraveling at the seems. Taylor explains in detail the intention behind her work.
Like many other places in the world, Florida’s water is threatened each year by the poison runoff from pollution caused by inadequately treated sewage, pesticides, manure and fertilizer. The toxic algae created by these unchecked industrial and agricultural practices, is literally choking our waterways, creating dead zones in our ecology that are harmful to both humans and wildlife.
Tiffany Trenda is a performance artist on a mission to awaken us from a technological slumber. Wearing a synthetic suit imbedded with forty small 2.6 inch LED cell phone screens, she asks people to interact with her, touching and pressing the monitors all over her body. Citing fellow performance artist Valie ExportTap and Touch Cinema as an inspiration, she examines our ease and familiarity with having devices, gadgets, screens and monitors all around us, in her new work Proximity Cinema.
The word ‘touch’ has a completely different meaning for today. Originally ‘touch’ meant human-to-human contact. Now we think of our smart phone, iPad or tablet. So, today, touch refers to human-to-screen contact. (Source)
Confronting people to enter her personal space, and destroying normal social limits, she highlights the boundaries between man and machine; natural and digital, and how willing humans are to accept the influence technology has over us. Trenda not only looks at how we use technology, but also how we understand our own identities through technology.
In her body of work she becomes the digitized version of the human body and her actions replicate those of a computer. Trenda creates a platform for questioning the boundary of where the digital impression and the physical body begin and end. The viewer is physically and visually immersed in the process of how the psyche evolves to relate to the screen (LCD, television, cinema or a computer). (Source)
Trenda’s installations and performances are a fresh and very real look at how easy it is to be overwhelmed and overpowered by technology. She reminds us to reflect on how integrated technology is becoming – it is not far from becoming part of our very skin. Perhaps her futuristic bondage-looking outfit will soon be a part of our wardrobes?
Photographer Bernhard Lang captures an aerial view of the Opencast Coal Mining Pit in Germany, which is one of the largest man-made holes in the world. At nearly 1,500 feet deep and covering almost 22 square miles, everything is at a giant scale. Massive machinery, the size of a 30-storey office buildings, scoops out coal, sand, and dirt to mine and move it about.
It’s hard to imagine something of these proportions, and through Lang’s sweeping landscape photography, he minimizes its grandiose scale. When looking down rather than upwards, it’s hard to get a sense of just how big these things really are. At times, they look like patterns of ant farms rather than the handiwork of humans. Perhaps it’s part of the point to say that these hulking machines and sprawling cleared paths aren’t as important as we’re lead to believe.
The real visual impact of these photos comes from their abstract qualities: the different colors of dirt that have been piled next to one another; the lines that are made by machines as they drive down the road; and the hills and valleys themselves. Through Lang’s careful framing, he’s captured their unintentional beauty.
Allison Schulnik’s 2014 claymation and stop-motion film Eager is a bizarre dance of the beautifully macabre. At 8 minutes and 30 seconds, it is her longest film to date — and perhaps her darkest, portraying a peaceful, ritualistic world that spirals in and out of violent, psychedelic chaos. The story begins in an opaque, supernatural world, devoid of light, before the viewer is guided into the heart of a strange forest. Traversing these unpredictable landscapes is a cast of misfits: the multiplying, skeletal specters, who open the film with their haunting, synchronized dance; flowers with faces that pulsate and transmogrify into mouths, labia, and cavernous expressions of joy and despair; and the eyeless, fleshy horse, with his lolling tongue and genitalia, who plods along with an almost human ungainliness.
What makes the film so stunning and dark — aside from the endearing absurdity of its characters — is how quickly and easily the world of Eager oscillates between compassion and cruelty. Take the skeletal specters, for instance, who, after completing their ritual, eviscerate each other and don the bloody skins like cloaks. The flowers, too, live in a world of beauty and menace, as they dance and devour each other. Despite the darkness, Schulnik’s treatment of her “monsters” is based in love and fascination; as she said in an interview with Beautiful/Decay in 2012,
“I’m drawn to these characters, for some reason. There’s something about the sad or pathetic kind of character that I like. There’s something sad about them, yet […] it’s comforting to know that [they are] maybe not real.”
In Schulnik’s surreal and metamorphosing universe, she has created a vast creative space wherein she explores the vicissitudes of life, and furthermore, celebrates the heart-wrenching beauty of what is normally seen as “dark,” “forlorn,” or “rejected.”
Schulnik also works in other mediums; her paintings, seen here, reflect the layered, whirling, and melting style of her claymation. Check out her webpage for links to her other films. And, as it has been advised, make sure you turn the lights down and the volume up as you experience Eager. More stills from the film after the jump. (Via Juxtapoz)
Texas born photographer Ignacio Torres‘s new series Stellar is a fine example of camera wizardry. Capturing four different angles of models jumping, sliding, twisting and falling in the desert surrounded by flying dust and confetti, he has tried to capture the essence of youth. More specifically, how humans and scientific theories co exist and inter-relate. Torres explains a bit more about his project here:
This project began from the theory that humans are made of cosmic matter as a result of a stars death. I created imagery that showcased this cosmic birth through the use of dust and reflective confetti to create galaxies. The models organic bodily expressions as they are frozen in time between the particles suggest their celestial creation. (Source)
His animated images certainly have a little something heavenly or even spiritual about them. I’m sure at times we have all been impressed by certain natural phenomenon – fireflies, glow worms, phosphorescence on the beach or in the water, and Torres’ celebrates these wondrous things that occur effortlessly and completely unaided around us. He goes on to explain:
In addition, space and time is heightened by the use of three-dimensional animated gifs. Their movement serves as a visual metaphor to the spatial link we share with stars as well as their separateness through time. (Source)
Stellar has a beautiful vibrancy and energy about it. The series has the same vivacity and zest as watching enthusiasts like Neil deGrasse Tyson or David Attenborough talk about their obsessions with the world that surround us. I imagine Torres would be very happy if his work piqued our interest in astronomy, botany, or at the very least, about our own humanity. Because it is indeed a marvelous and astounding thing. (Via We The Urban)
People hand down heirlooms in the form of jewelry, books, plates, and paintings. Now, thanks to Swedish designer Gabriel Sarkijarvi, you can add Illusion Chair to the list. What exactly is an Illusion Chair? Well, it’s a very well made piece of furniture with a subtle likeness of someone’s face carved into its back. This is achieved through a raster process that creates a dot matrix data structure in a rectangular format, MDF boards are then cut into templates of the subject’s face then finalized in birch.The end result is a timeless piece.
The chair gives off an eerie photo realistic vibe, similar to silhouette. Since the back is slatted depending on where you stand it looks just like a regular chair. But if it hits the light just right, the likeness of someone’s face will suddenly appear.The chair is clever and functional making it a wonderful conversation piece at dinner parties.There might even be a game in there for someone who has unlimited resources. Guess the illusion chair or musical illusion chairs?
Sarkijarvi has always been fascinated by illusion, and used this awe for inspiration. The designer compared it to a new kind of heirloom where the user could sit on it and feel as though they were sitting on the lap of the likeness at hand. Pet owners would dig it and make a chair of their beloved animal and be able to sit close to them always. I know I would. (via designmilk)