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You could say artist Aganetha Dyck creates her sculptures as much as she fascilitates them. Dyck uses honeybees to decorate these figurines. The bees create graceful lines and countours that seem compliment the existing shapes of the figures. Their honeycomb patterns don’t seem like strange additions but rather enhancements. Dyck begins her process with figurines, often broken or damaged in some way. Then collaborating with beekeepers and scientists, bees are allowed to add their distinctive pattern to each small statue. Dyck describes her process:
“To begin a collaborative project with the honeybees, I choose a slightly broken object or damaged material from a second hand market place. I choose damaged objects because honeybees are meticulous beings, they continuously mend anything around them and they do pay attention to detail. To encourage the honeybees to communicate, I strategically add wax or honey, propolis or hand-made honeycomb patterns to the objects prior to placing them into their hives. At least I like to think my methods are strategic. The honeybees often think otherwise and respond to what is placed within their hive in ways that make my mind reel.”
For Translated Vase, Korean artist Yeesookyung assembles broken and discarded pieces of ceramics into new and contemporary work. According to Yeesookyung, about 70% of ceramic work does not reach the perfectionist standards of many ceramic professionals and masters. From this ceramic trash, she puts these broken pieces together as if she’s assembling a jigsaw puzzle, finding pieces that seem to connect from disparate shards, then covering the seams with 24 carat gold leaf. “While the use of gold lacquer is seemingly related to Japanese traditions of mending ceramics known as kintsugi 金継ぎ for Yeesookyung her choice of gold is based on the Korean homophone of “gold” (geum) and “crack” (geum). She observes, ‘I wanted to add a sense of humor to my work by filling geums (cracks), which are considered as defects, with a valuable material, such as real geum (gold).'” (via)
The Star Wars Millenium Falcon doesn’t exist in real life, but you’d never know it by looking at Finnish artist Vesa Lehtimäki (aka Avanaut)’s photographs. In his work, you can spot a Y-Fighter parked among trees, a clear view of ships in outer space, and action shots of some of your favorite characters . Lehtimäki borrowed his son’s toys to photograph and later Photoshop them into their own believably unbelievable situations. They look so life-like you’d think that these small objects are actually a 1:1 reproduction.
The artist has been a life-long fan of the Star Wars franchise. In an interview with Wired, he talks recalls the impact it had on him. “Two of the great moments of my childhood were the first two original Star Wars movies,” says Lehtimäki. “As a kid I wanted to become a movie director. I made some Super 8 movies but it did not work out that well.” He’s an illustrator and designer, and sees these photographs as a way to explore an unfulfilled career path. (Via Gizmodo)
Taravat Talepasand’s work is anything but subtle. As a dual citizen between Iran and the US, Talepasand work deals with both contemporary and traditional issues of both nations. Talepasand work puts symbolic and iconic images in new contexts, forcing you to view them in a new ways. “I had my own way of depicting things,” she explains. “I wanted to work on my own terms.” Beautiful and thought provoking. If you like what you see, Talepasand’s work will be featured in Beautiful/Decay’s upcoming issue! Subscribe today to view more works by her, as well as other great artists!
Sam Green’s portfolio of drawings are full of fluid movement, interesting perspectives, and realistic rendering mixed with just the right amount of abstraction. He’s worked for a wide variety of clients creating images for everything from brochures to animations for a giant Zeotrope
While teaching at the Ansel Adams Workshops in Yosemite National Park in the 1970s Roger Minick began photographing sightseers. Interested in this American activity Minick wanted to capture the “cacophony of clicking shutters” and waves of tourists seeking photographic proof that they had made it to a famous vista.
Minick’s photographs portray unique narratives of what is mainly America’s middle-class. Poignant and humorous all at once, the images show varied individuals with intriguing and sometimes seemingly strange stories. What is interesting is that, so far as a viewer can tell, all the subjects have only one thing in common: their desire to be in famous places in nature. Sometimes stereotyped Minick’s images successfully portray the American tourist as being wholly distinct.
Moreover, set against iconic backdrops the images become more than just portraits. They demonstrate a juxtaposition of nature and culture. As David Pagel wrote in the LA Times in 1997, “these supple works use the discomfort most people feel when confronted by nature’s inhuman scale as a metaphor for the precariousness of culture in a democratic society. Awkward and uncertain, sometimes fun and at other times frightening, this quiet anxiety is a big part of these pictures’ power.”