Multidisciplinary artist Georgios Cherouvim’s installation titled Debate looks like your average conversation between two political candidates. But, there are some big differences: the figures’ heads are replaced with flashing geometric forms and they talk using unintelligible robot noises (think a series of beep boops). And of course, these aren’t people – they are realistic-looking plastic mannequins that are animated by an Arduino micro-controller with a custom “conversation” – stimulating program.
Cherouvim says that he entered the world of visual arts through computer animation, which explains the complex nature of Debate. The triangular and rectangular “heads” are controlled by an algorithm that changes lights and sounds based on parameters like how long one of them has been talking, if there was any silence, and the last time one was ignored by the other.
In his artist statement, Cherouvim writes:
My work is a visual representation based upon my perspective of social and political issues. I question established ideas of the modern lifestyle and how common social behaviors and ideologies have turned us against our environment and our selves. I want my work to invite the viewer to step back, observe our actions from a different perspective and associate them to the consequences.
“The act never reaches a conclusion and it is performed in a non-deterministic way,” Cherouvim told The Creators Project. “Their language is incomprehensible, causing the viewer to lose interest in the conversation and politics all together.” (Via The Creators Project)
Photographer Rebecca Rütten is interested in the paintings from the Renaissance period and contemporary fast food culture like Taco Bell and McDonalds. You wouldn’t think that the two would intersect, but in Rütten’s series Contemporary Pieces, they do. The German artist combines elements of the traditional with greasy burgers and fries. ”I became enamored with the eroticism, presentation and charisma of paintings from the Renaissance Period. In the Late Renaissance, Italian and Dutch painters dealt with the middle and lower classes,” she writes in a statement about the work. To Rütten, fast food represents the two social groups. “To eat healthy is expensive,” she continues. “However, one can buy large amounts of food at a fast food restaurant for a comparatively low price.”
Rütten asked tattooed and pierced friends to model for her and recreate the poses of laborers, gypsies, and prostitutes in Caravaggio paintings. The exquisite and dramatic images are simultaneously beautiful and repulsive. For every flower or fancy goblet there are mounds of saturated fat. It’s not only a culture clash, but a fusion of foodstuffs associated with lower class and fine items for the upper crust of society. (Via iGNANT)
Shi Jindian makes wire sculptures that are precise, intricate, and collect to form impressive items in their actual size and shape. The Chinese artist uses steel wire to twist together these delicate pieces, which encompass the complexity of the actual item whether it be the human body, a motorcycle, a bicycle, or a cello. To create this ethereal effect, Jindian first makes a wire covering over the actual object, then destroys and removes the object from within it to have only the shell leftover. Viola! A sculpture is born.
As another arts writer commented,
“The result, he says, is a kind of fiction, a virtual reality that can be walked around and touched. His Blue CJ750 (2008) is a replica of the Chiangjiang [Yangtze], a military bike based on an early BMW and for decades reserved for the military. Beijing’s Shadow (2007) translates the chassis of an army jeep into an object of pure contemplation, an airy fantasy which a car long was for millions of Chinese. Each of the works is accurate to the smallest detail. They took years to make, but he found serenity in the toil. When people touch his sculptures, he says, they also touch ‘the state of mind that emerges from the labour of my hands: tranquillity and calm’.”(Excerpt from Source)
Davit Yukhanyan is an Armenian architect and illustrator whose incredible works have an stunning amount of detail. Each large and complex drawing contains hundreds of tiny drawings within its dimensions, and a central shaded figure occupies the center with outlined figures behind it. However, shading isn’t necessarily made using just your traditional pen techniques. Instead, animals, people, and objects fit together like pieces of a puzzle and change in scale. The smaller they are, the more dense the drawing which alters how dark it appears to the viewer.
Considering just how intricate Yukhanyan’s work is – with pieces measuring about 27 inches by 39 inches – it’s no surprise that he’s only produced two so far. Titled And When You Lose Control and Isolated Winner, the massive artworks are inspired by the world we live in. “Just as everything in our world consists of different pieces, my drawing also consists of different pieces in the form of small illustrations that come together into one overall creation,” he writes on Bored Panda. “I draw the artwork with this concept in mind.” (Via Demilked and Bored Panda)
Born in Paris and trained in London, visual artist Charlotte Cornaton combines two unlikely platforms—the ancient craft of ceramics and the modern medium of video art—to create multi-faceted, socially-charged pieces. For Insomnio, her latest series, Cornaton focuses heavily on the ceramic side of her practice, creating 21 delicately crafted and hauntingly illuminated porcelain books.
Stunningly handmade and intrinsically dreamy, Insomnio presents and explores the paradoxal nature of clay’s transformation from a heavy, solid medium to a fragile, paper-thin representation of the contents of a book. Created during the artist’s residency in Jingdezhen, China, the pieces—comprised of porcelain and illuminated by hidden LEDS—are directly influenced by ancient techniques and rooted heavily in Chinese culture:
Insomnio is a complication of porcelain sculptural books which explain the symbolism of my nightmares using Jung dream interpretation. The oneiric world is true cerebral storm and the fear of the unconscious is here materialized through the cracks and imperfections of the porcelain . . . I used the three main ancestral Chinese techniques of incised porcelain: carving celadon, cobalt painting and cloisonné glaze. Insomnio thus uses oriental know-how to express western form of thought, incarnating the exchange and symbiosis of cultures.
Adorned with designs and inscribed with text, each book presents the artist’s acquired sense of a culture’s aesthetic and, through both a literal use of light and enlightening symbolism, results in an exhibit based prominently in illumination—literally.
Artist Chris Wood likes to exploit the magic of light, and more particularly, the light that passes through glass. Working specifically with Dichroic glass (meaning two color), she installs pieces or shards of the material on walls at different angles, allowing the different color and reflections to play off each other. Arranging the glass in usually geometric, or circular forms, they take on the appearance of futuristic mandalas, or some complex physics experiment. The installations are wildly varied in color, at times the glass is completely transparent and subtle, or can be densely rainbow colored, or even entirely opaque and metallic.
Dichroic glass was actually developed by NASA in the late fifties to protect against harmful effects of direct sunlight and cosmic radiation, and is a very unique material. Due to it’s unique nature, it is a captivating material to work with with unlimited potential. Wood says of her interest in it:
Glass is a material which allows me to exploit the aesthetic potential of light. Minimal structures, support simple arrangements of glass, which interact with light to create complex patterns of light and shade, which change depending upon the position of the viewer and the angle of the light source. (Source)
Wood also works with the Dichroic glass outdoors, setting up quiet installations that play off the reflections and colors of the environment. Favoring water and greenery, she is able to make us look twice at the nature we take for granted around us.
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)