For your consideration: a $500,000 ring mounted with a tanned sliver of hairy human skin. The piece, titled the Forget Me Knot ring, is the creation of boundary-pushing Icelandic fashion and jewelry designer Sruli Recht. For these one-of-a-kind works of art, Recht had a 110 by 10 millimeter a strip of his skin surgically removed from his abdomen; the artist then salted it, tanned it, and embedded it on a gold ring.
The work, though grisly, carries with it a raw sexual potency. Its title refers, of course, to marriage, or “tying the knot;” in this way, the piece is unabashedly intimate, tying literal bodily fleshiness with the idea of love and intimacy. The ring’s beauty lies in its refusal to be pretty; its hairy, gray, and it’s gruesome physicality operates as a strangely comforting promise that two people might become “one flesh.”
The medicinal and scientific references of the rings strangely reinforce this idea of devotion. Complicating the relationship between jeweler and client, the ring comes with a certificate of authenticity, providing DNA validation that the slash is in fact the artist’s, and a DVD graphically documenting the making of the ring, including the surgical removal of flesh. With these items, Recht creates a personal catalog of both his molecular and artistic existence, offering himself to a potential wearer in uncomfortable yet touching ways.
Recht’s other rings, composed of rare black diamonds and other precious stones, remain authentic to his gritty, viscerally demanding aesthetic. Take a look, and let us know what you think! (via Oddity Central)
At RMIT University in Melbourne, Australia, lecturer Claudia Diaz has implemented an unconventional project in order to inspire her anatomy students. After teaching human anatomy for over 20 years, Diaz decided to try something new as she found the regular routine of anatomical memorization boring and uninspired. Over the past 3 years, Diaz has explored human anatomy with her students by having them paint the bodies of 10 students, revealing tendons and bones that would be visible if the person’s skin were stripped. Featured in these photographs is chiropractic student Zac O’Brien who patiently sat for around 18 hours while fellow students painted him. The finished result is what Diaz likes to call “anatomical man,” first brought to one of her classes in 2010.
”We walked him in and I still remember the looks on the kids’ faces. They were just in awe,” she said. ”I realised it shocked them, it inspired them and it motivated them.” Previously shy about taking off their clothes so classmates could study their bodies, the students began to shed their inhibitions through this painting exercise. ”I couldn’t get the kids to keep their clothes on. They were all throwing them off,” Dr Diaz said. (via)
Javier Galindo, an artist of many talents, uses ready-made objects to create an interesting narrative that comments on possessions we value. By nature, humans are collectors. So much so, that we even have an entire T.V. series dedicated to this hoarder phenomenon. In Galindo’s series The Incomplete Tour, he creates objects that mimic, question, and alter keepsakes and mementos often collected by travelers and tourists. Specifically, he references “The Grand Tour,” a trip that many youth would take during the 18th century across Europe. The purpose of this journey was to gain knowledge of the Western world’s cultural history and to be exposed to its many treasures, such as classical antiquity. To preserve their memories, as we often do today, they would collect souvenirs. Galindo’s question is, what is this memento actually worth? It is by no means an original; it is just a fragment or a trace of what was experienced.
Influenced by classic antiquities, Galindo’s series transforms and skews these fractures of remembered treasures. The series is comprised of a wide variety of mediums including cast plaster and oil paint, as it also is included two-dimensional and three -dimensional works. Focusing on portraiture, the once traditional portraits and busts are now sliced and stacked, skewed by paint, or literally cut out of their frame. In a world where we are obsessed with documenting every moment through digital photos, it is interesting to see a reference to a time where the only way to keep the moment with you, was through collecting physical souvenirs. A photograph is like a still memory, a fragment of an event that can often warp the true memory. Just like a photograph, Galindo’s mementos are just fragments of the whole; they are hints of a narrative further skewed by Galindo’s artistic eye.
Rebecca Morgan is a wonderfully playful, expressive artist producing mostly drawings, paintings, ceramics and cutouts, all based on characters and stereotypes from her native Appalachian area in America. Long term fans of Morgan’s, we have actually featured her previous series of portraits of rednecks and peasants- ‘Deliverance‘, here on B/D. This time we are enamored with her latest ceramic collection of gnarled, twisted, almost gruesome jugs. As with her 2D work, Morgan takes inspiration from the off-beat “bumpkin” (as she calls them) folk she grew up around.
Her ceramics are quite the sight – with bulging eyes, leering at you, and with crooked smiles, mouths full of oddly shaped and yellowed teeth. Their colors are quite unsettling as well, some vases a sickly blue-green tone; another is bright pus yellow; some vases glazed in a metallic sheen; and yet another made from a dull grey ceramic with ghastly warts plastered all over it’s face.
Stylistically, Morgan embraces hyper-detailed naturalism, influenced by Dutch painters such as Memling, Brueghel, and Van Eyck, as well as absurd, repulsive caricature suggestive of underground cartoonists like R.Crumb. (Source)
The influence of underground comics are definitely evident in Morgan’s work and she makes sure to embrace a healthy dose of lewdness, as does Crumb. She obviously delights in pushing the boundary between repulsion and attraction; the grotesque and the ordinary. Thankfully these vases are neither repulsive, nor grotesque, and they are far from being ordinary.
Photographer James Loveday produces beautifully polished images for both fashion spreads and his own personal projects. What strikes me about Loveday’s work is that, regardless of whether he’s photographing golden perfection or morning-after mayhem, his work maintains a richness that you can almost reach out and touch.
Tony Cragg is truly a master of materials. Moving effortlessly between plastic, wood, bronze, glass, and found materials Cragg as been creating groundbreaking formal sculptures since the early 70’s. Perhaps one of the most skilled sculptors of the last Century Cragg is an artist whose work keeps pushing the boundaries even at the age of 63.