Specializing in state-of-the-art projects and renowned for their sleek aesthetic, digital artists Ewelina Aleksandrowicz, known as Tikul, and Andrzej Wojtas, or mi$ Gogo, collectively comprise Pussykrew, a partnership focused on inventive new media projects.
Experimental in nature and out-of-this-world in design, the work that makes up Pussykrew’s exciting oeuvre evokes a futuristic sensibility. Through video installations, methods of 3D-printing, performance art, and electronic works, the duo seeks to construct “gender-bending visual journeys, filtered through carnal data mesh, liquid apocalyptic dysphoria and 3D fantasy shuffle.”
While the methods used and the materials explored by the twosome vary, perhaps their most celebrated projects are their 3D-printed pieces, for which they were christened the “Artist of the Year” at London’s 3D Print Show earlier this year. Spanning lustrous blobs of ambiguous, organic shapes slathered in car paint and androgynous busts with seemingly liquefied skin, Pussykrew’s 3D-printed pieces capture both the duo’s innovative process and their inclination toward a streamlined aesthetic. Noting that “the boundaries between the virtual and the physical has been obliterated, [and] carnal matter exists with a technological component as a hybrid,” the pair gravitates toward this method of sculpture, combining their experience in the digital realm with their inherent artistic abilities.
Chris Maynard‘s tools of trade include a scalpel, forceps, and a love for the literal art of flight. With a deft hand, he etches delicate shapes and patterns into shed feathers, transforming them into more than just a part of a whole. In doing so, he coaxes out the secret lives of birds.
“My work with feathers gives me a satisfying perch from which to view the world,” Maynard says in his artist’s bio.
Maynard’s art is nothing short of celebratory at times: Six feathers arranged with miniature songbirds in mid-flight. Others are a peek into the everyday life, such as a bisected feather yielding the tiny form of a robin working industriously on catching the early worm.
With the kind of precision needed for such minute knifework, each piece could have easily been sterile and dispassionate. Instead, they are each joyful in their own way, from the flurry of movement of a flock of birds circling a roost to the burst of sapphire blue on a peacock’s plume.
Though the feathers were discarded, shed, or forgotten by their previous owners, Maynard has given them new flight. (via This Is Colossal)
Sit Haiiro is an artist from the Netherlands whose monochromatic illustrations are slightly askew. The portraits of young kids and animals have a serious tone to them, and they’re obscured by slight planal shifts, digital elements, and mysterious clouds. There’s little context to Haiiro’s works, with his subjects devoid of background or environment. This gives an eerie and off-putting feeling to the hand-crafted images, and it’s as if they are out of a dream.
Haiiro’s characters are very active and full of energy. Dogs are running at full speed, a crow is in the midst of flight, and a child jumps as high as he can. But, every action is punctuated and falls short. Pixelation and thin lines fracture faces, bodies, and enthusiasm. There’s an obvious visual sparring between the two, and Haiiro describes it as, “where the calm surroundings provide more opportunity for decision making, rather than being driven by the fast moving winds of change.” (Via Inspiration Feed)
Israeli artist Zemer Peled creates sculptures using countless ceramic shards. Each individual element is a small part of a greater whole, and their sharp and pointed edges form a single beautiful form that’s inspired by flowers or sea creatures. Through careful arrangement, these forms bloom and breath like the real thing.
Peled uses blue cobalt found in designs and landscapes from traditional Japanese pottery as her raw materials. Subtle lines and patterns create the textures for flower petals and other attributes. To make this possible, the artist uses a slab roller to build sheets of clay that are fired and then broken with a hammer. What’s incredible is not only the meticulous nature of assembling and placing each piece, but its the uniformity that they all have. Although Peled’s work is comprised of countless parts, each of them is the same. (Via Colossal)
Enchanting and provocative, the dreamy work of Los Angeles-based sculptor and photographer Amanda Charchian leads a life of duplicity. Simultaneously spiritual and political, her art finds a balance between a transcendent admiration of nature and an intrinsic fascination with the female body.
Ranging from hypnotic crystal installations that give window planes life to sensual and beautiful photographs of female nudes interacting with wild nature, Charchian’s work hosts a wide variety of inspiration: Louise Bourgeois’ feminist sculptures, ancient Greek and Egyptian mythology, spiritual meditation, and the mysterious occult all play a part in the artist’s oeuvre, comprised of tremendously unique and stunningly cohesive works.
While, with her cast of all-female photography subjects and her emulation of Ms. Bourgeois, feminist undertones are highly evident in her projects, it is her interest in alchemy and enchantment that most aptly summarizes her body of work. She explains:
“Employing 2D and 3D mediums to transmit mystical experience into matter, my art practice is a means of communicating the subconscious sphere into objects; creating possible portals to ascend beyond known reality.” (Facebook)
Whether photographic or sculptural, her captivating pieces evoke a sense of otherworldliness, uniting the natural with the supernatural and, ultimately, bringing the transcendent down to earth. (Via Ssense)
Normally you would be quite concerned if you could see the inside of any firework, explosive, or pyrotechnic device. But Seattle based photographer Andrew Waits has thrown caution to the wind and dissected different fireworks, creating a strikingly graphic series called Boom City. The result is something that is almost as beautiful as the fireworks are when ignited. The explosives turn out to be quite interesting indeed – columns of cardboard or mulched paper encased in colored tissue, or some delicate covering, and stuffed full of intriguing colored pigments. Resembling some sort of school science project, the fireworks look deceptively amateur, and certainly not something that can cause such serious accidents. Names like Flying Color Butterfly Rocket, Lightning Flash, Ground Bloom Flower, Moon Traveler’s Bottle Rocket, give the impression of fireworks being delightfully playful.
Waits quite often chooses subjects where he can study differences by comparing similarities. His past projects have included studies of people traveling in motor homes, living permanently on the road, and comparing the same site at both sunset and sunrise. Also having taken a series called Artifacts and Specimens, he seems to enjoy ordering and analyzing the things that surround us. Boom City is the perfect example of how Waits’ curiosity is piqued by examining the details of a particular subject.
See here for more of Waits’ beautiful aesthetic and interesting projects. And here is a video of drone footage seeing fireworks from yet another angle. (Via Boingboing)
In her ongoing series “The City,” photographer Lori Nix creates incredibly detailed scenes by hand in miniature, then photographs them. The result is an amazing collection forecasting scenes of danger and disaster. The pictures share some commonalities with Matthew Christopher’s “Abandoned America,” recently covered on b/d, but instead of finding places that have been left behind, Nix constructs them.
“In my newest body of work ‘The City’ I have imagined a city of our future, where something either natural or as the result of mankind, has emptied the city of it’s human inhabitants. Art museums, Broadway theaters, laundromats and bars no longer function. The walls are deteriorating, the ceilings are falling in, the structures barely stand, yet Mother Nature is slowly taking them over. These spaces are filled with flora, fauna and insects, reclaiming what was theirs before man’s encroachment. I am afraid of what the future holds if we do not change our ways regarding the climate, but at the same time I am fascinated by what a changing world can bring.”
The images are classically composed, with a balance of color and space. Even once the viewer is told that these are dioramas, it’s difficult to believe. The intricate details, realistic lighting, and cohesive scale make them absolutely lifelike.
“My scenes can be as small as 50×60 centimeters and as large as 182 centimeters in diameter. It takes approximately seven months to build and photograph a scene. I build it for one angle of view and never move my camera from that spot. I will change the lighting, the placement of the objects and re-shoot until I’m fully satisfied with the results.”
Nix’s apocalyptic visions are both familiar and fantastic. She presents a world on a tabletop that is beautiful and alarming.
The work of Australian sculptor Sam Jinks may haunt you for quite a while. Although they are made from silicon, resin, paint, fiberglass, calcium carbonate and human hair, his hyper-realistic figures look like real humans caught sleeping. It is hard to believe they can’t just wake up and walk away. Jinks recreates all details accurately and painstakingly, creating amazingly anatomically correct characters, each complete with a history embedded into their wrinkles and tattoos.
Captured in private moments, these beautifully serene characters seem to be contemplating their past. Instantly intimate, Jink’s work has a way of using these quiet characters to reflect our own sense of mortality back onto ourselves. From a grandmother holding a new born baby, to a man grieving over a lost relative, or an elderly woman displaying her youthful tattoos on her torso, all of these figures are somehow a reminder that our human bodies disintegrate and decay as wonderfully, beautifully and as easily as they strengthen and grow.
[His] sculptures [have] a powerful presence, which at times is confused with a man’s. This is unusual…. You’d never confuse a Bernini for a real human. You just accept that it’s an illustrious effigy and not a real person. But, as with the realist sculptures of Ron Mueck, the proximity to human textures is uncanny. The slightly puffy belly, the hardness of the ribs, the lankness of the unsupported legs: it’s almost too lifelike. (Source)
Jink’s work fits into a theory of “Uncanny Valley” (an idea relating to robotics, computer animations and body modification) where an inanimate object is uncannily similar to a human, but isn’t actually one. This effect supposedly creates feeling of repulsion and disgust, which could well happen with these sculptures as well. They are unsettling, yes but definitely objects of curiosity.