Dreamy animation by Lois van Baarle for her graduation project at the Utrecht School of the Arts.
Jerusalem-based industrial designer Naomi Kizhner created a series of sci-fi jewelry than harvest kinetic energy from a human’s body and turns it into electricity. Titled “Energy Addicts”, Kizhner’s graduation project addresses world’s forthcoming energy crisis. Her jewelry is an attempt for an existing renewable energy source that hasn’t been tested yet.
“It interested me to imagine what would the world be like once it has experienced a steep decline in energy resources and how we will feed our energy addiction. There are lots of developments of renewable energy resources, but the human body is a natural resource for energy that is constantly renewed, as long as we are alive.”
The jewelry is made from gold and 3D-printed biopolymer. Each piece contains sharp stings that neatly pierce the skin and serve as bio energy harvesting devices. The energy is generated from the body’s subconscious movements, such as blood flow or blinks of an eye. Kizhner created several designs to be worn on different body parts and to draw energy from specific physiological functions.
According to the designer, technology is not too far from turning these ideas into reality. However, she argues that the important part lies in human psychology: “<…> Will we be willing to sacrifice our bodies in order to produce more energy?” asks Kizhner. With her project, artist yearns to provoke people and spark the discussion on our possible future. (via Dezeen)
Adrian Arleo is a sculptor living near Missoula, Montana whose ceramic works hybridize the human figure with animal and environmental imagery. Among her creations are bodies pock-marked with honeycomb formations, people birthed from wasp nests, and animals whose skin ripple with human eyes. While there is a sadness and mystical darkness in some of her sculptures — the “Swallow Bust” hybrid, for example, seems suspended between life and death as birds inhabit her hollowed body — they also exhibit agelessness and awareness. Part of this can be attributed to the classical style of the sculptures, which is reminiscent of ancient Greek and Italian art. As Arleo writes on her About page: “By focussing on older, more mysterious ways of seeing the world, edges of consciousness and deeper levels of awareness suggest themselves” (Source).
Thematically, however, Arleo’s works draw their strength and knowledge from the cycles intrinsic to the natural world. As she explained in a 2012 chat with Ceramic Arts Daily:
“[M]y ideas come mainly through observation and curiosity, taking note of what’s around me: wasp nests, bird tracks in snow, the eyes in aspen tree bark, the limbs of trees, deer grazing in the fields, all these things are analogous to our own experiences with life cycles of birth and growth, reproduction and nurturing impulses, defense mechanisms, aging, death, decay. […] With the changing state of the world, I feel a greater and greater urgency to remember and express how we are all connected, all dependent on the same air, water, soil.” (Source).
As hybrids, the sculptures’ awareness of life, death, and the interconnectedness of all things is fused into their bodies. There is no distinction between what is solely “human” and “animal”; all worlds are represented in one. They remind us of our own material connections to the natural world, and how — through their sad, ancient expressions — the world is changing.
Not all of Arleo’s creations foretell this change passively, however. She expresses how her newer works are quietly unwilling to be reduced to extinction:
“[W]hen I ﬁnished this most recent body of work and looked for a feeling that encompassed it as a whole, I was struck by the concept of a harbinger: a dream, sign, or omen foreshadowing things to come. There is a quiet resistance, in this work, to the cultural and biological losses of our time” (Source).
In this way, we can read the sculptures as defiant, with their bodily hybridity signifying a memory of and connection to the natural world that will never be completely wiped away.
Justin Brown Durand is an artist/musician from Northampton MA… and he has some seriously strange output. Pink deformed giants dancing naked with swollen hands and little faces. Twisted distorted characters that look a tad bit insane. See more of Justin’s work after the jump listen to his amazingly weird music too at Heart Pump Arts.
Tim Groen is one of those creative types that can do just about anything from photography to design but my favorite work by him are these surreal collages made from vintage advertisements and paintings.
Art directors Anaïs Boileau and Samuel Volk are the dream team when it comes to creating short and snappy campaign ideas. This time around they have used their skills to benefit The World Wildlife Fund in a project called WWF/Botanimal. With flawless Photoshopping technique, they have camouflaged images of endangered animals into forested landscapes. With the tagline “Donate to save a tree and save 875,000 species for free”, this is one clever visual narrative detailing a worthy cause. Boileau and Volk show us exactly what these beautiful environments would be without the animals roaming around within them.
Boileau is also responsible for another campaign with a responsible message. Called WWF/WeWantFurniture.com, she imagined a brand and designed a corresponding website “selling” wood to customers. Apparently from all wood sold, 40 percent is made from illegal wood. She devised a very effective way to show customers the ecological effects of buying cheap furniture. The effects of deforestation can be devastating, as we are reminded in this new campaign also.
Working with creative directors in a commercial environment, Boileau and Volk are able to maximize their reach to a large audience, and come up with visually interesting answers to complex questions. Boileau sums her work up nicely:
[Impassioned] by craft and art direction; I have been lucky to work with talented photographers, retouchers and CGI artists. The best part of my job is to imagine visual universes, and find creative solutions.
Rusty Shackleford creates collages, sculptures, and arrangements that investigate the relationship between image and form, engaging vintage printed matter to extrude its inherent qualities, of color, context, and nostalgia. The resulting images are delicately poised between abstraction and representation, paint and print. Shackleford does not treat his images preciously: he ravages them with swaths of paint, but he strikes a surprising equilibrium between readymade and intervention. His sculptures function similarly to his collages, where color and form, executed boldly in a minimal, Modernist style, integrate smoothly with the colors and forms in their surroundings.
Artist Eamon Ore-Giron has lived in Peru, Spain, Mexico, and the Southwest, all of which have shaped his work and inspiration. His installations and paintings blend graphic design, folk art, tourist art, and Surrealism. Ore-Giron has an upcoming series called the Road to Ruins at the Steve Turner Contemporary. So if you happen to be in LA on September 11th check it out!