Some pretty stark imagery from “Martyred Saints”, a series of photographs by Toby de Silva:
“…the Saints are displayed in a cathedral in Eastern Germany close to the Czech border and were acquired in the 17th century when there was a big trade in relics. They are said to be the remains of Martyred saints that were stored in the catacombs of Rome before being removed and traded. They were reassembled and dressed in their fine regalia and displayed in ornate cabinets.”
It must’ve been pretty dark in the “catacombs of Rome”. The photos are also fairly dark, not much to hold onto by way of background. But the blackness in each photo is balanced by Silva’s bright, clear lighting of his subjects and their jewels. (via)
Graphic design and illustration studio Violaine & Jeremy create stunning graphite pencil drawings of animals and people merging with wildlife and nature. Surreal illustrations feature wild and domestic critters propped with various attributes of human world: spectacles, patterned scarves and even Victorian waistcoats.
Another humorous venture by the creative duo, Violaine Orsoni and Jeremy Schneider, is to attach lush flowery beards onto humans and wild animals. The unexpected combination of a fiercely looking gorilla sporting a Garden of Eden-like facial hair is beyond humorous. The idea seems to resonate with the latest trend of men adorning their beards with colorful blossoming flora.
Each piece of the collection demonstrates incredible attention to detail. Perfect technique of pencil hatching and shading brings Orsoni and Schneider’s intricate drawings very close to photorealism. Their studio collaborates on a variety of projects: from visual identity, to album covers, to design of the France’s leading innovation magazine, Influencia. (via KoiKoiKoi)
I absolutely love this house, designed by William Hirsch for art director John Holmes, (no, not that John Holmes!) most famous for his original cover art for “Jaws.” Their home is comprised entirely of salvaged, hodge podge reclaimed building materials, making it a sort of living, breathing, thrift store turned frankenstein-like architectural collage. Ah, the free-wheeling spirit of the 70s that kicks modernism’s dutch-minimalist-eames-clean line-stainless steel-white cube’s ass!
In the age of digital photography and Instagram filters that make things look fakely old, glass artist and photographer Emma Howell uses a technique that is opposite of the easy, fast-paced methods popular today. Not only does she go to painstaking lengths to print an image, but she uses the unconventional surface of glass. Howell crafts hand-blown vessels and prints landscape images on them using the technique of the wet plate collodion – a photographic process that predates the Civil War. The result is a subtle and moody piece that’s a conversation between photography and form. She tells Wired Magazine, “Most people are not able to experience a place that is unaffected by the human presence. So I’m creating a way for others to experience this in a way that’s more than looking at a flat print of the cliché beach we all see and know.” The shape of the glass informs what the image is. A ripple or imperfection is meant to echo waves in the landscapes.
Howell’s pieces are irregularly shaped, so she had to build her own camera to accommodate them. She studied how large format cameras were constructed and sawed a barrel in half to act as the camera’s body. Afterwards, she fashioned a mount that allowed her to attach a traditional lens to the barrel. After six weeks of trial and error, she had a working design and began shooting.
The process of transferring an image to glass is very involved. Howell hikes to remote areas with a miniature chemistry lab and darkroom in tow, working on the fly to mix up photosensitive chemicals, coat glass, expose shots, and develop the image – all in the span of 15 minutes.(Via Wired)
A wall patterned with vibrant colorful real insects. Jennifer Angus is arranging the species she appreciates the most on a hot-pink background. The opening of the Renwick Gallery across from the White House in Washington DC has welcomed artists to use different kind of mediums to surprise their future viewers.
The series of in situ installations is called ‘Wonder’. From room to room the curator wants the viewer to be amazed. The different styles ornating the gallery are brought together in a way that the viewer can’t recognize what he is admiring until he comes closer and immerses himself into the decor.
Jennifer Angus’s room revolves around patterns. From far, the general aspect imitates a wall paper. The artist, a former textile designer, knows how to play with the motifs. She is inspired by patterns ‘to which repetition is inherent’. 5000 insects, weevils and small beetles were handpicked and displayed by the artist mainly in the shape of skulls. This symbol of mortality combined with the insects meet her purpose, which is to highlight the fragile features of human kind. Her installation is called ‘In the Midnight Garden’. A reference to the glow created by the iridescent blues, greens and lilac tones.
The disclaimer on the artist website indicates the insects were all collected from Southeast Asia, particularly Thailand and Malaysia. She does not alter their original colors and she is reusing each one of them for each exhibition, carefully putting them away in boxes.
Zander Olsen wraps white fabric around trees to “intervene” with the organic lines of a landscape, often blurring our sense of foreground and background to generate a jarring sense of flatness. Olsen suggests such compositions convey a new “visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.” As a result, the lush wonders of Wales, Surrey, and Hampshire are transformed into beautiful abstract images, with pops of white.
Mary Jordan’s Water Tank Project brings to the New York skyline a beautiful and pertinent reminder that water is, in most respects, sacred. The project has brought glorious eye candy into the periphery, yet its first and foremost mission is to spread awareness regarding the dire water situation the majority of this world experiences.
The backstory to the effort reads like a movie: filmmaker Mary Jordan was working on a documentary in Ethiopia back in 2007. Three months in she became deathly ill from accidentally ingesting contaminated water. Nursed back to health by the women of the village she was living in, Jordan survived and was urged by these women to thank them through working to increase awareness on the water crisis within their country and the world.
One day, while back in New York, Jordan gazed up at a water tower and had an epiphany: “They’re like these little temples that hold water,” she thought, and realized the inherent symbolism of the structure itself, and the potential power to communicate that it held. Thus, the Water Tank Project was born. Jordan founded Word Above The Street, with the intent of utilizing the city’s water-related infrastructure to showcase water-related art and increase awareness.
The project gained an impressive level of momentum as artists Jeff Koons, Maya Lin, Andy Goldsworthy, Jeppe Hein, John Baldessari, and many, many others have signed up to produce graphic wraps for the over 100 water towers included in the project. With the tag line: Art Above NYC, Water Above All, Jordan is doing a remarkable job at fulfilling her promise, and getting you to think about your relationship with water and what effects the conservation of water can mean to those in countries less fortunate than ours.