Will Ritson sent us an email of some of his work. This guy knows how to push a pencil. His illustrations are pretty sweet, so enjoy!
Steve Poxson takes hyper-realistic photography to a whole new level by using a scanner to create his work. Kinda takes all those “hey, look at my hand!” scans to a whole new level.
In his installation, reverse of volume RG at the Rice Gallery in Houston Texas, Yasuaki Onishi uses the simplest materials — plastic sheeting and black hot glue — to create a monumental, mountainous form that appears to float in space. The process that he calls casting the invisible involves draping the plastic sheeting over stacked cardboard boxes, which are then removed to leave only their impressions. This process of reversing sculpture is Onishi’s meditation on the nature of the negative space, or void, left behind.
Onishi wanted to create an installation that would change as visitors approached and viewed it from outside of the glass wall to inside the gallery space. Seen through the glass, the undulating, exterior surface and dense layers of vertical black strands are primarily visible. At first glance, standing in the center of the gallerys foyer, it appears to be a suspended, glowing mass whose exact depth is difficult to perceive. Upon entering the gallery and walking along the left or the right side, the installation transforms into an airy opening that can be entered. Almost like stepping into an inner sanctum or cave-like chamber, the semi-translucent plastic sheeting and wispy strands of hot glue envelop the viewer in a fragile, tent-like enclosure speckled with inky black marks. Visitors can walk in and out of the contemplative space, observing how the simplest qualities of light, shape, and line change. (via)
Yup. That’s Charles Barkley. Yes, he’s in a space suit. Yes sir, he’s in outerspace with lens flares behind him. Yes ma’am, I know it’s awesome. What’s even more awesome than Charles Barkley in a spacesuit, in space with lens flares? Maybe a video of him in a animated, auto tuned rapping, and going bonkers. Be amazed by the full video after the jump.
In a series titled Volutes (Curls in English), French photographer Gilles Soudry captures the haunting images of smoke frozen in time. Set against a black backdrop, the jets and coils unfold hypnotically, creating eerie, translucent shapes that take the likeness of strange creatures: aliens, ghosts, deep-sea invertebrates, and parasites come to mind. The indistinct shapes allow the viewer to make his or her own interpretation of what the smoke has manifested. At once ephemeral and static, it’s like an otherworldly dance that transcends the logic of space and time, or as Soudry describes it, “an aerial choreography [. . .], outlining an imaginary figure which is freezing into crystalline transparency before it scatters” (Source).
Trained as a photoengraver, Soudry’s work is aimed towards the “photography of matter, surface effects, [and] transparency” (Source). He is interested in shifting outlines and fluid dynamics, combining the fixed nature of the image with figures of immateriality and transience. Volutes captures beauty, mysticism (and indeed, a dark sentience) where otherwise there would just be a thin haze. In this way, Soudry fosters an awareness and appreciation for the beauty and forms that occur on the periphery of materiality and awareness.
Fred Eerdekens’ work combines shadows and and typography to create experimental artworks that lie somewhere between installation and sculpture. Each piece relies on the perfectly lit gallery space to create the visual tricks and the process of the work is revealed as viewers walk around and interact with the work. Not restricted by one material Eerdekens uses everything from artificial cloud formations (pictured above) that spell out “neo deo” to food boxes (after the jump) that are arranged to cast the shadow “Come Home”.
The owner of anthillart.com has been turning ant extermination into a controversial art form by creating aluminum casts of expired colonies. After locating an anthill — mostly, those of the fire ant and carpenter ant species — he pours boiling, liquid metal into the entranceway, solidifying the tunnels and killing anything inside. The cast of the ant nest is then dug out, sprayed off, and mounted on a wooden base for display. Many of them are then sold on eBay to schools and collectors.
There is no doubt that Anthill Art’s pieces are deeply fascinating. By extracting the colonies from their molten graves, he allows us to appreciate the intricacy and alien-like beauty of the various tunnels and chambers. The species have markedly different construction strategies: the fire ants’ patterns are dense and labyrinth-like, resembling coral formations and Christmas trees. Some of them have long tunnels reaching out to isolated chambers. The carpenter ants’ structures, on the other hand, are very linear, resembling fungi growths as they extend into the earth with central chambers branching off.
Unsurprisingly, Anthill Art has provoked ethical questions surrounding the destruction of life in the names of art and education. On his YouTube channel, the owner has explained that fire ants and carpenter arts are nuisance species, the former being an imported pest that is “harmful to the environment,” destroying crops and preying on bees and other beneficial pollinators (Source). And ant extermination is a common, ongoing practice — so does it make a difference if we turn their annihilation into art or learning tools? Defending his work against an onslaught of criticism, the owner has claimed that with the less-invasive carpenter ants he tries his best to find abandoned colonies (Source). At the intersection of art, education, and ethics, Anthill Art’s ant-tombs are topics of debate.
Turning to our readers: what do you think? Is it okay to cast ant colonies for the purposes of education and art, so long as the ant species are deemed “pests”? We’re curious to hear your responses. Learn more at anthillart.com as well as the website’s Facebook page.
Extremely detailed machines made out of cardboard. Australian artist Daniel Agdag creates directly with his hands and scalpel. The industrial machineries he imagines and makes are a mean to raise consciousness on how human beings are powerless and ignorant over the machines they use daily.
In the ‘Principles of Aerodynamics’ series, Daniel Agdag demonstrates his ability to produce an intricate sculpture using just his imagination and memories he collects from details on architectural elements like buildings or monuments. He doesn’t sketch anything before diving for hours into his work. His process is described as ‘Sketching with Cardboard’. He conceives a hot air balloon, reel-to-reel recorder and a radar-dish without planning. The purpose remains the same : to entice the viewer’s curiosity and to generate a reaction.
The artist’s subject matter places individuals in a position of uncertainty. The machines that we use daily are complex and we tend to forget it. Furthermore, we might forget in the process that we are being helped by those machines, and that without them we could no longer pursue our effortless life. Daniel Agdad’s examination of the effect machines have on us is reminiscent of artist Jean Tinguely’s purpose. By building creative machines from garbage and found objects he ‘aimed to satirize the fallibility and unpredictability of machines and our reliance on them’. Daniel Adgad, by manipulating a simple material like a cardboard attempts to freeze time and the world we are living in. And reconnect the viewer with what he is actually capable of achieving thanks to the use of complicated machines.