What if you could stick your hand into a little box and all of a sudden find yourself in a virtual, parallel, world? Well, thanks to designer and maker, Jayne Vidheecharoen, you might be able to quite soon! The project is still undergoing development, but the prototype already shows a lot of promise, and Jayne is currently running a kickstarter campaign to help develop it further. Check it out in action after the jump…
The work of Chinese artist Wang Zhiyuan turns our attention to the overlooked and discarded. Whether he is using garbage to make art or making art look like garbage Zhiyuan’s art attempts to draw out a double take, a second slower look. Zhiyuan has also created giant pairs of underwear – some of huge swaths of fabric others carefully carved. Some seem like large and ancient bronze panties adorned with a relief addressing the AIDS pandemic. He’s also made use of refuse to create a dizzyingly high tower stretching to be nearly four stories tall. He says of the project:
“I thought it would be difficult to make these dead objects interesting or beautiful. But I discovered that if you bring order to them, you can create beauty.”[via]
Russian artist Dmitry Morozov has found a way to make sound from tattoo ink. Working to unite robotics with his passion for art and sound, he created a machine that makes music based on the reading of a tattoo on ones’ body. This is Morozov’s way of bringing objects and ideas he cares about closer to one another, as opposed to the distance that the natural world places between such distant and distinct genres.
“In essence, Morozov, also known as ::vtol::, has created a tattoo capable of producing music when scanned with a special instrument. He has one on his own body — an eight-inch long design that appears like a mysterious barcode on his forearm, featured in the video above. With the slide of an eerie, cyborg-like machine, the design produces avant-garde noise appealing to the most highbrow of listeners.
So how does it work? According to The Creator’s Project, the scanning instrument consists of “arduino nano, a metal railing, hand controllers, and a black line sensor (on the tattoo).” A motor guides the mechanism along the inked design, with the lengths of each bar equaling the duration of various sounds. The addition of a Nintendo Wii controller equipped with Open Sound Control enhances the sound possibilities; if he moves his appendage, an accelerometer transforms the movement into distortion.” (Excerpt from Source)
French/Italian artist Sonia D’Argenzio sent over some of her new abstract ‘anti-photographs’ this past week, and i’m more than impressed. Her ability to pull an excellent image from film before/after/without processing is unrivaled (at least to my Tumblr eyes), and i’m even more convinced by her devotion to the analog process. She might just be the real deal.
Photographer Ana Oliveira‘s Identities II is a touching series of portraits. She begins with old photographs of her subjects and through similar lighting, clothing, and poses she creates a parallel photograph. As much as sixty years lies between some of the older and newer portraits. The two portraits arranged side by side become a sort of existential before and after. I find myself imagining what took place in the decades between the two photographs, evidence of something in the now more pronounced lines in each sitters face. Its difficult not to envision expressions of expectation in the younger portraits, and mixtures of disappointment or content in their older counterparts.
Evan Penny is a Toronto-based (South African-born) artist who makes human sculptures out of silicone, resin, hair, and pigment. In many ways, his works — especially those he produced in the 1980s (see “Jim”) — are hyperrealistic, with detailed skin textures and lifelike body postures and facial expressions. However, throughout the 1990s and into the 2000s, Penny began to experiment with abstraction, manipulating human proportions and forms to create flattened, stretched, and warped bodies that resemble optical illusions, troubling the perceptual line between digital manipulation and animated flesh. In his more recent works, Penny has implemented computer technologies to scan, distort, and re-scale the figure, which he then recreates by hand.
Two interrelated themes that Penny interrogates in his work include the passage of time and the ever-changing nature of self-perception. As he explores in his works “Young Self” and “Old Self,” for example, self-representation — indeed, identity — is a construction that is never stable; “time, memory, and desire” influence the way we appear and project ourselves to others (and ourselves) (Source). Penny’s work also explores the implications of image manipulation in the digital age, when photo editing and digital reality give us new means of constructing our self-representations, and indeed, evading the naturally-occurring inconsistencies of our real-life identities. As he stated in an interview with Canadian Art:
“With the digital, how we imagine ourselves in time has changed again. We’re starting to comprehend ourselves quite differently, and I’m not sure we fully understand how that is affecting us” (Source).
Despite the seemingly playful aspects of Penny’s sculptures, some of his artistic investigations are tinged with sadness as they grapple with the passage of time. “Jim Revisited” (2011), for example, is a recreation of his sculpture “Jim,” which was made in 1985, when his figures were still largely realistic. Jim was a friend of Penny’s who had passed away several years ago. What Penny seems to be achieving in the dialogue between these two works is a series of overlapping personal and artistic reassessments: an examination of the way time distorts memory, as well as how his own artistic practice — infused with years of experience and shifting emotions and new perspectives — has changed. You can read more about Penny’s thoughts on “Jim Revisited” here. Visit Penny’s website to see more of his work.
Ashkahn Shahparnia, (pronounced ASH-CON SHAW-PAR-NEEYA) is a Los Angeles based graphic design artist whose work is colorful, whimsical, funny, and immensely clever. His designs, which seem to come from a world that is forever changing from spring to summer and back again, transition easily from one product to the next. Graphics for tote bags, t-shirts and pillows, album cover art, patterns for wall paper, some killer custom typefaces and much more, all fit snuggly into his portfolio (along with just about every color imaginable). Capturing the age-old and elusive ‘show-not-tell’ mantra of artists everywhere, Shahparnia’s fonts and graphics truly have personalities of their own. What is perhaps the most exciting is Shahparnia’s use of unexpected items in his designs and graphics, such as the elements of a dismantled avocado to create a minimalist, geometric pattern. Or the graphic representation of the evolution of bikini wax styles from the 1960s to 2000s, matter-of-factly printed on the side of a tote bag. Which makes sense when you look at the extensive list of his inspirations on his website, crediting everything from Lil’ Wayne to Carl Andre to an adorable baby polar bear. While much of Shahparnia’s work is very tongue ‘n cheek, he demonstrates a true understanding of how graphic design can completely dictate the emotional value of an image. Celebrating all styles, be they kitsch, cute or cool, the designs all have one thing in common: they’re great to look at and you’ll probably have a hard time not smiling.
Jasper Goodall is an illustrator and artist from Brighton, England. His work has encompassed many areas from music, fashion, advertising, publishing and Editorial. In addition to his creative output he teaches on the illustration degree course at the University of Brighton in the UK.
One glance and his work will be forever be burned in your mind.