Caterina Rossato creates 3D layered landscapes out of old postcards. She seeks to evoke both the familiar and the alien, the specific and the general. “I create landscapes made through a collage of other landscapes, combining images in which the sense of recognition of reality slips from one level to another and it is never clearly identified,” Rossato says in an artist’s statement.
The series, named “Deja Vu” plays with the idea of recognition and the sensation of recognition. Rossato explains:
“The déjà vu is a psychic phenomenon which is part of the forms of alteration of memories (paramnesie): it consists in the erroneous sensation of having seen an image or of having lived previously an event or a situation that is occurring. Although improperly, it is also called ‘false recognition.'”
It’s interesting that she chose to use postcards, which often enable us to live vicariously through friends and family who are traveling abroad. In a sense, we’ve heard about the locations and they are familiar to us in name and description; however, we often haven’t traveled to those distant lands, not enough to know them personally or to have seen them up close. In a way, Rossato’s work brings up the question of how we can truly know something — or know that we know something. (via I Need a Guide)
‘Dirds’ is a series of Photoshopped images that combine the heads and bodies of birds and dogs. We’re not sure exactly who started this new internet craze but we have to admit that we can’t stop looking at these perplexing creatures.
Although they are incredibly cute, you might still find yourself thinking about how these flying pup hybrids are actually quite disturbing.
Photoshop allows us to have more power than ever before. We can literally make anything come to a tangible existence.
D-Barcode is a Japanese design firm which apparently specializes entirely in designing barcodes. I wish I could tell you more, but I don’t speak Japanese and pretty much the only English on their site is their slogan – BIG IDEAS ARE SMALL, DESIGN BARCODE. Can any Japanese readers tell us more?
It’s hard to pull off an interesting silhouette in any medium but the sheer size of Sam3’s massive murals painted around the world demand your attention and respect. Mostly painted in the humble palette of black and white Sam3’s graphic silhouettes quietly shout out universal narratives and surreal messages.
Cara Phillips got the idea for her Ultraviolet Beauty series from the beauty industry. Medical spas and dermatologists use the same ultraviolet light that she did, with a very different effect. The ultraviolet shows every imperfection of your skin not visible to the naked eye, and dermatologists use it to show you a glimpse into the ‘future’ of your skin. In reality, there is no way to know how many of the blemishes will surface, but it’s an effective scare tactic, and apparently ensures the sale of cosmetic products to ‘prevent’ the catastrophe that is imperfect skin.
Phillips’ focus was to use the same ultraviolet technology, but with a different outcome. She took portraits of people on the street in New York, offering them for free to anyone willing to sit (it’s unclear if they had to pay to have a print, so free might be a liberal term here). She encouraged them to close their eyes to soften their expression. The images are beautiful, and you can’t imagine that someone could look at themselves portrayed in this style and feel alarmed by the look of their skin. Phillips’ photographs are taken in black and white large format, presumably not the technology a medical spa would employ, but the original images taken by the skin professionals are in black and white, so Phillips’ photos are not far from the truth. (Via MTL Blog)
British architect/artist/technical wizard Alex Chinneck is at it again. We have written about his last project here on Beautiful/Decay, and his latest public sculpture is just as impressive as his others in the past. Known for creating strange, surreal interpretations of urban architecture (like a slouching building facade, and a levitating market building), Chinneck has a knack for surprising even the most cynical observers. Keeping with his habit for curious titles, his newest work is called A Pound Of Flesh For 50p and is visually as interesting as it’s label. Working for over a year with many different chemists, wax specialists and engineers, Chinneck has managed to build a house completely from wax.
Perfecting the art of replicating bricks from wax, he has completed another one of his ambitious projects, this one featuring over 8000 authentic looking bricks. He has built a two story building for London’s Merge Festival and it is definitely a sight to behold. Set to melt over the course of 30 days, this house will eventually be nothing but a pile of waxed lumps coagulated on the ground with pieces of window and door frames sticking out. Naturally, Chinneck has to manually set it alight to help the structure melt in the right way, assuring the disintegration happens at an even rate. The process will be something of a surreal slow motion break down of matter; where the wax will look like an organic disease spreading out down the building. The wax will consume itself – like something out of a bad B Grade horror movie.
Celebrating the Bankside district in London, this project links back to the original building on this site that was actually a candle-making factory a couple of hundred years before. (Via Fastcodesign)
Midwestern artist Dave Rowe creates sculptures of time worn structures influenced by American landscapes. His work has developed through a means to “explore history,” as he believes that addressing the change and aging of a landscape reflects not only the passage of time, but also has psychological implications about those who inhabited that change. Memories, ideologies, and personal histories are shaped by one’s surroundings. Therefore, a landscape can serve as a reflection of a collective “personal” experience. By capturing one specific physical moment, the artist allows himself to reflect not a universal or personal truth, but instead, acts as a sort of mirroring of a hyper-specific type of development. The artist re-creates recognizable, yet unspecific buildings that allude to an archival, physical space. His sculptures, focusing on geometrical infrastructures, have been shaped by his own upbringing in the American Midwest and have been influenced by the changes in the American landscape. Specifically, his work focusses on the more rural areas, as the relocation of factories have dissolved the need for industrial buildings. He captures how functionality, or rather, a lack of it, can act as a record of topographical transformation. Even his use of color is a reference to time; he pairs “barn red or tar black” along with “brighter colors evocative of graffiti,” in order to reflect the often seen palette of a forgotten edifice. Rowe creates these structures scaled to hit at eye level, allowing the viewer to enter the space emotionally, and hopes to open a discourse for personal reflection.