Designer Noa Raviv‘s “Hard Copy” collection has been bending space-time as well as turning heads all over the fashion world. Raviv revs fashion up into high tech: She uses 3D printing technology to create the vectors, grids, and curved polygons that act as the centerpieces of her futuristic dresses.
At first glance, her collection looks like something Escher would come up with if he had gone into outer space — and learned to put the pedal to the metal on a sewing machine. Raviv’s 3D-printed dresses utilize negative space and evocative bold lines that abruptly end, a trajectory to nowhere. Some mark outlines around the stoic models, almost reminiscent of cut-out paper dolls.
If you were to describe Raviv’s designs as purely brainy, though, that wouldn’t be entirely correct either. Her pieces are mash-ups of the classical and the plugged-in modern, organic yet precisely calculated. The recurring hollow grid pattern seems to inevitably draw a comparison to wire frame mannequins, perhaps implying that the work is incomplete with the wearer, who — in this case — gazes archly from amidst blossoming toruses and geometric anemones.
According to Raviv, she wanted to explore “the tension between the real and the virtual, between 2D and 3D.” After having won the 2014 Finy Leitersdorf Prize for her creative efforts, it would seem that her experiment was certainly a triumph.
Sculptor Eva Jospin constantly reinvents the idea of what a forest is over and over again. She cuts, layers, arranges, glues and builds cardboard into different interpretations of The Woods. Her pieces range from smaller 2D pictures compiled from dense sticks, branches and flaky bits of wood, to life size 3D installations that you are invited into, and can move around within. For Jospin, cardboard is just the medium for a larger message; these trees express many things:
The forest – an incarnation of nature in the wild – is above all the setting in traditional storytelling of tests of courage, and can be a gloomy or initiatory place. The forest is also where one encounters oneself. This walk through the forest initiates the visit to ‘ Inside’, which is also an inner journey. (Source)
Jospin uses a material that is not only durable, robust, strong, and supportive, but also fragile, impermanent, raw and insubstantial. She plays on these two points of view – they mirror the actual qualities of trees, nature and our relationship to it. These poetic attachments to Josie’s Forest pieces isn’t lost on her critics either:
To look at a forest is an optical experience that challenges the typical laws of perspective in western representation. Facing visually the depth of a forest means to forget the horizon, it means to get lost. And is not the danger of getting lost the only risk tied up to that natural labyrinth that is a forest? (Source)
We live in a visual culture. Our daily ability to understand cultural references and have collective visual experiences shapes our discourse with our greater surrounding. Imagine never knowing what the mystery smile of the Mona Lisa looks like, or not being able to experience any work of art at all with out being told what it looks like. Imagine never being able to experience on your own how a piece of art makes you feel. For millions of blind people over the world, that is an everyday reality. Unseen Art, a project creating 3D models of master artworks, will change the art experience for the blind forever. With the help of resources from all over the world, the Unseen Art team is gathering information in order to create 3D documents of classic works, such as the Mona Lisa, to be printed in 3D form. Even better, the project is sharing these models for free, making sure that their information can be accessed anywhere in the world there is an 3D printer. Through the collaboration of 3D technicians, artists, and the visually impaired, the project has started to become a reality. With a little help, the project will be able to launch major gallery shows, create a 3D art community to constantly improve the project, and, ultimately, make art more accessible than ever.
“It would be a revolution to get blind people going to art galleries,” states Eija-Liisa, the cultural director of The Blind Federation of Finland.
Please check out more information on Unseen Art here. Please support the project by donating here.
A bold claim made by Dutch artists Sander Plug and Lernert Engelberts, but fairly well deserved. Since their first collaboration, they have been working on commercials, leaders, art movies, documentaries and installations. Their aim is to make simple and communicative works, that takes little note of the existing border between contemporary art and commercial projects. Their highly esthetic, humorous and dedicated works are often challenging the media and its viewer, in a simple but very effective way. Check out some of their shorts after the jump! They all sort of share the same color palette and are nice in that way.
Painter and sculptor Emma Hack‘s collection, “Wallpaper,” is a series of meticulously painted models made to blend in with the designs behind them – true wallflowers! Hack must have been incredibly patient when working on canvases that move and breathe; her work is so precise, if you blur your vision, the models effortlessly become part of the wallpaper.
Yes I know French gif artist MDCCLXIV has been a subject of our blog before, but I just wanted to share this image with you guys… this is how I feel right now. Dizzy and stuffed with colorful food. Still, 2 days after Thanksgiving.
Entering the studio of Joseph Walsh is like embarking on a vessel of imagination. His “Magnus Celestii” piece begins as a desk and then spirals upwards from the floor to the ceiling to end as a slender shelf. The great heaven; as the title of the piece translates in latin; is taking up the entire space, making the viewer the center of the sculpture wherever he is located in the room. Not only is the piece a beauty, but it’s also made out of ashes of wood. A detail that transports us to the premice of the creation, in the midst of nature, in a magical forest somewhere in Ireland, where the artist is from.
Regarding Joseph Walsh, the barrier between him being acknowledge as an artist or a designer is slim, almost inexistant. The fact that he is challenging the technical boundaries of wood carving demonstrates his talent and love for his passion.
He is a visionary redefining design as art. A piece of furniture created by his hands is a sculpture. He wishes to honor the collaboration man has had for decennies with the material of wood.
Once again through this sculpture he has our head swirling in a dream of wooden ribbons. Over the years, Joseph Walsh has created a language of curves, sensuatity and voluptuousness. There is not one way to appreciate his work. How the lines float and the silhouettes undulate leaves us in an eternal spin. No matter how many times we look at a piece, there will always be a new angle to discover it.The simplicity of the material and the complexicity of the lines are what makes his work so captivating.
Joseph Walsh has new work currently showing at Chatsworth House in Bakewell, Derbyshire, UK until October 2015.