Check out Kako Ueda‘s cut paper masterpieces! With each project, she explores her deep interest in organic beings (insects, animals, and humans alike), and weaves them into mind-bogglingly intricate, extraordinarily precise patterns and forms. Her newest work (immediately after the jump!), still in-progress, is a hybrid figure measuring about 7 feet high!
Following on from the trend of “Ruin Porn” or “Ruin Photography“, Japanese artist Satoshi Araki intricately creates miniature dioramas of bombed out cities or urban landscapes. He is attracted to anything that is in a state of decay. He is especially adept at reconstructing tiny details he finds through using Google Image Search. For example he searches for particular phrases (“Iraq war” or “Iraq ruins”) and meticulously recreates what he finds.
Obviously Araki has a sharp eye for details. Using knives and blades to scrape off paint and to add rust, he achieves realistic imperfections, turning a normal miniature scooter into a thing of amazement. He even adds cans with miniscule Arabic writing on them, tucked inside a box in one of his destroyed scenes of Baghdad. He makes sure to carefully smash the tiny windshield of a car, denting it in all the right places, and even adding a bent license plate all to create a believable environment. For such scenes full of violence and horror, he surely makes them a thing of beauty and wonder.
There is a strong sense of poetry in Araki’s work. He focuses on the destruction of man made buildings and objects – mainly being overtaken by nature. Trees grow over old rusted cars; grass forces it’s way through rotting rubber tires. And this is the fascination that other Ruin Porn artists have as well. They all capture the beauty of the world we have created around us crumbling to the ground. And just like Araki, they find joy in that chaos. They celebrate the beauty of the piles of rubble we live in.
If you’ve ever been in a mostly empty mall, you know how strange it can feel to walk among a space that’s only half alive. But what about when a mall is completely abandoned? That’s even more surreal. As more and more of these once-booming retail centers close, the Dead Malls Enthusiast Facebook group has mapped many of them throughout America. Adventurous photographers have captured the aftermath of of these departed spaces.
Many of these abandoned malls were built in the 1970’s and 1980’s, and it shows. The interiors and decor look dated, tacky, and claustrophobic compared to the open-air shopping that’s popular today. Some have fared better structurally than others. Photographs depict buildings that’ve been closed for years and have demolished ceilings and broken glass. Many of the malls have dead plants that have long since lost their leaves.
These abandoned places are apocalyptic and frightening. But at the same time, they pique our curiosity and we wish were there exploring for ourselves. (Via Buzzfeed)
Check out this great interview with everyone’s favorite graphic designer turned artist Ryan McGinness discuss everything from his work process, the importance of art galleries, his disdain for social media, and all sorts of other things. Can’t say I agree with everything he says but it’s fascinating to hear his views on such a broad array of topics.
Artist Megan Straeder’s most recent work is a hanging installation, a display of brilliant light work in intricately woven nets placed descending a staircase. Appropriately on display at the Brisbane Powerhouse, her work breathes modernity and is reminiscent of 3D blueprints and 1980s computer technology. She cites Portal and the 2002 film Teknolust as visual inspirations for her work, she works with a lot of neon lights and futuristic elements. She plays with light and dark in this project, and makes use of a necessary darkness to be able to create such a stunning display of lights.
Straeder describes her piece as a “space age environment” inspired by “visions of the future”. Her work does reflect heavy inspiration from such decors and it might even remind you of Tron. Straeder describes this installation as a “vortex of light and color” and, the fact that the piece is hanging in a staircase reinforces its ethereal aspects. Enrichment Center constitutes the perfect décor for a houseparty featuring a futuristic techno soundtrack and probably lots of drugs.
The power of this pieces lies both within its sources of inspiration and the fact that, through these sources and her own creativity, Straeder has created a transmedia art piece and a reflection on what we perceive as futuristic imagery.
The pages of Nicholas Stevenson‘s sketchbooks feel more complete than most. Rather than distract, the thoughtful use of bright colors and intricate patterns help pull the scenes together. Each spread portrays a private moment in which viewers may pass unnoticed and draw their own conclusions. (via)
In an unusual attempt to explore their own digestive tracts, student artists Luke Evans and Joshua Lake swallowed single frames of 35mm film, folding each piece in a brightly colored capsule that allowed for the acids and bodily fluids to process the film with minimal risk of colon damage. Once excreted, the negatives were recovered, cleaned, and studied in detail by an electron microscope; ultimately, they were printed into giant black and white works.
The project, titled “I turn myself inside out” is an almost uncomfortably intimate and human exploration of the photographic medium. Normally, images are produced and processed by machinery, light, and chemicals, but this provocative series substitutes the artists’ own bodies and their fluids for the impersonal metal gears and glass lens of a camera.
The images themselves are so strong because of their unexpected three-dimensionality; while most film photographs flatten space, condensing foregrounds and background to create a compelling work of art, Evans and Lake’s work does the opposite. Each frame looks like a scientific image taken from a microscope. The digestive process and the resultant breakdown of the film’s emulsion afford each image its dimensionality, transcending the medium’s traditional reliance on light and shadow to convey space.
The most miraculous aspect of the work lies perhaps in the tension that arises between the intimate and vulnerable bodily process and the somewhat impersonal aesthetic of the resultant images. Once printed, the images become abstract explorations of tone and space, their apparently inhuman, unemotional form subverted only by the knowledge of their painfully visceral creation. What do you think: gross or cool? (via Wired and Oddity Central)