Don’t have a green thumb? That’s alright. Japanese artist Yuto Yamasaki hand-carved these wooden flora that look like real potted house plants. To construct this impressive collection, he chiseled away at large logs and formed them into succulents, palms, and bonsais. A coat of paint was applied to the wood afterwards and further extends the illusion. From far away, they might trick you into watering them.
The artist uses wood because it’s easily available to him, and he places a great importance on the physicality of art making as a way of exploring subjectivity. “The issue is not what I make; there is no meaning to be found in my pieces beyond a confirmation of the existence of the artist and his experience of making the work.”
Yamasaki’s attitude is reminiscent of when people describe why they enjoy knitting. The repetitive motion is a calming activity, where your mind can safely wander and while you’re doing something that’s active. “Making art objects with my own hands, void of conscious thought, is a therapeutic and meditative experience,” he says. “The challenge is to put myself in a state where the materials make my hands move automatically.” (Via Spoon + Tamago)
California-based artist Gregory Kloehn was tired of making sculptures for rich people. “It just sits there,” he said. “I kind of think that if you’re putting so much effort into something it would be nice if it actually did something.”
With the help of a close knit art community, Kloehn began his Homeless Homes Project, a collaborative endevour that provides sturdy, innovative and mobile shelters for the homeless.
They look like sculptures, but they actually serve a purpose.
Kloehn starts the process by installing beds, sinks, stoves, and storage shelves on regular old dumpsters and shipping containers. All of the ‘amenities’ are made with repurposed materials found on the streets.
To prove that his dumpster homes are fit to live, the artist put it to the test. He has actually lived in one that he built for himself, and fitted with such conveniences as granite counter topped kitchen, a microwave, a mini-stove, a fridge, and even a cushioned sofa.
With a successful run, Kloehn is a now a full-time home builder. So far he has built 10 tiny homes, some of which have already found tenants. (via Amusing Planet)
Filmmaker Sébastien Lifshitz began compiling vintage photographs of queer couples when he happened upon a photo album that he realized contained the life a lesbian couple. Intrigued by the visibility with which they claimed with these photographs, despite living in the early to mid 20th century, when homosexuality was less accepted and more hidden that it is now, Lifshitz filmed a documentary - Les Invisibles (2012) – chronicling the lives of LGBT couples born between the two World Wars. Lifshitz just released a companion photo book -The Invisibles: Vintage Portraits of Love and Pride - last month. These images capture a lifestyle that was largely invisible to the mainstream culture to which it belonged. Photography was a way for queer communities to be visible to each other and to document the lives they led, however invisible they were to the heteronormative culture of their time.
Of his collection, Lifshitz says, “I don’t know these people — they are anonymous to me. I can’t really even say that each person photographed into the book is gay, except when it’s obvious. What I like is that there are different levels of reading these photos — I would say three levels to be exact. The first one is the pictures of obviously gay single people or couples, the second is the pictures of people which can be seen as ‘undefined’ (we’re not sure) and the third level is the ones that are obviously not gay but playing with a gay attitude (cross-dresser, some ‘garçonnes,’ etc.). I love the ambiguity and diversity of these pictures. These photographs ask questions. I didn’t caption the photos because I don’t know quite anything about each of them (no name, no location mentioned most of the time). I wanted to expose them like the way I found them: without any information, like mysterious pictures.” (via brain pickings)
For the Turkish artist Hasan Kale, the tiniest morsel of food inspires visions of sweeping landscapes. Using his finger as a palate, he adorns almonds, M&Ms, and the most translucent layers of an onion with astonishing renderings of his native Istanbul. Where most landscapes take up entire museum walls, commanding attention with their sheer immensity, Kale’s work does the opposite. In these miraculous works of macro painting, the infinite nature of the earth, sea, and sky collides with the impossibly minuscule, heightening the preciousness of the Turkish terrain.
Here, snack foods become as wondrous as great feats of nature and man. On thin slice of banana, a storm rages, its brushstrokes transforming the very texture of the fruit into that of a saturated canvas. On the inner flesh of an almond, he imagines the legendary baroque architecture of the Nusretiye Mosque. The iconic building becomes vertically stretched as in a romantic masterpiece, extending upwards to conform to the natural shape of the almond. On these tiny surfaces, the grandiosity of the city’s architecture is expressed through the vibrancy of color and the dreamy, sweeping whims of the artist’s brush.
Perhaps the most poignant aspect of Kale’s work is its impermanence. Unlike the great canvases entombed in museums, these paintings will decay, perish, or be lost. The banana will rot into mush; the fragile quail egg might crumble. A stunning mosque might accidentally be eaten. But in the meantime, these imagined landmarks exist for the sake of our wonderment. Take a look. (via Colossal)
Contrary to what these photographs might lead you to believe, the people in them are dead; they represent a special kind of funerary service that involves anything but laying down. Instead, the deceased are posed doing things that you’d see them doing while they were alive. Miriam Burbank is seen with a can of Busch beer and menthol cigarette between her fingers, while the body of Christopher Rivera is propped up in a faux boxing ring.
These strange and creepy displays aren’t anything new, although they are unusual. The phenomenon first appeared as early as the 1984 funeral of Willie Stokes Jr., a Chicago gambler known as the Wimp. He sat through his services behind the wheel of a coffin made to look like a Cadillac Seville. And even earlier than that are the post-mortem photographs of the Victorian era, where the recently deceased were captured while sitting in their finest clothing. While it’s not a funeral, they show how throughout time, we’re trying to remember those passed for how they lived.
Elsie Rodríguez, vice president of the funeral home that organized Rivera’s service, explains some of benefits of these situations, telling the New York Times, “This is not a fun or funny event; the family is going through a lot of pain. With these kinds of arrangements, “the family literally suffers less, because they see their loved one in a way that would have made them happy — they see them in a way in which they still look alive.” (Via The New York Times)
Roland Topor (1938–1997) was a French illustrator, painter, writer, filmmaker, actor and whatnot mostly known for his macabre and surreal cartoons. His illustrated book “Les Masochistes” was first published in 1960 and features a number of absurdly humorous masochistic actions that people perform on themselves.
The grotesque situations depicted in “Les Masochistes” perfectly convey Topor’s artistic style and approach towards the world. He infuses the grim reality of Nazi dictatorship (Topor and his family were Polish refugees of Jewish origin) with humor which was probably the best coping mechanism at that time. As described by Bernard Vehmeyer, a quote from Topor’s novel “The Tenant” perfectly sums up his world view:
He was perfectly conscious of the absurdity of his behavior, but he was incapable of changing it. This absurdity was an essential part of him. It was probably the most basic element of his personality.
Most often, Topor’s illustrations were based on surreal scenarios with deeper allusions to sex, erotica, rotting mankind and such. According to closer friends, artist had repetitive periods of extreme depression where he would balance on the verge of death and it reflects in his work.
Every artist and designer has had to find the balance between their ideal vision of their home renovation and a realistic budget. After all how can you hang your favorite artwork in a space that didn’t feel like your own? IKEA cabinets are budget friendly, but their selection can be very limiting, which is why we love Semihandmade. They’ve elevated the IKEA hack beyond your wildest dreams. With a wide variety of finishes from oak to walnut and even eco friendly woods, Semihandmade’s custom doors for IKEA cabinets can transform your IKEA based project from mass market to bespoke chic.
Dreamcatchers, cowboy hats, flannel shirts and nostalgia are all present in Theo Gosselin’s vagabondish journey through forgotten and mystical America. In 2012, this young photographer took a road trip from Harlem to Venice beach and truly captured the essence of free spirits running wild.
“My favorite subjects are the uninhibited young people who are my friends, photos taken from the inside, in the privacy of our travels together, our adventures, our evolution in this strange world. Love, friendships, and our appropriation of nature and the urban world. Young, free and immortal.”
Gosselin started his journey with two friends and used social networks to meet new people and find places to stay. According to him, it was an incredible experience on a human level as he got to meet very different people: from students to squatters and hippies.
Because of his untamable energy and carefree attitude which he brings to his work, Gosselin quickly became a true hit on Facebook with more than 80k followers. In the times of posing and retouching, Theo Gosselin’s photos stand out due to their purity, sincerity and capability to take viewers on board.