An excavation artist, if there ever was such a thing, Max Lamb creates beautiful works of art and furniture using Mother Nature as one of his tools. On a beach in Cornwall, England, Lamb uses primitive sand casting techniques to make his pieces. One of the earliest forms of casting, sand casting requires low-tech materials and systems. Attracted to this method, Lamb employed this simple technique to create the pewter stool depicted in the video. His knowledge of techniques, materials and his skill allow Lamb to explore method and medium in a unique way. There is a sense of adventure to Lamb’s work, which makes his process as interesting as the final product itself. His practice consists of an artistic honesty and respect for process that induces excitement and surprise. Watching Lamb excavate his pewter creation from the sand evokes a sense of wonder and an awareness of magic.
London based illustrator Laura Gee’s playful and quirky illustrations are a bit clunky in all the right places. With funny quotes and tender figures they are perfect for everything from print brochures, to your next neon colored t-shirt.
In the age of digital photography and Instagram filters that make things look fakely old, glass artist and photographer Emma Howell uses a technique that is opposite of the easy, fast-paced methods popular today. Not only does she go to painstaking lengths to print an image, but she uses the unconventional surface of glass. Howell crafts hand-blown vessels and prints landscape images on them using the technique of the wet plate collodion – a photographic process that predates the Civil War. The result is a subtle and moody piece that’s a conversation between photography and form. She tells Wired Magazine, “Most people are not able to experience a place that is unaffected by the human presence. So I’m creating a way for others to experience this in a way that’s more than looking at a flat print of the cliché beach we all see and know.” The shape of the glass informs what the image is. A ripple or imperfection is meant to echo waves in the landscapes.
Howell’s pieces are irregularly shaped, so she had to build her own camera to accommodate them. She studied how large format cameras were constructed and sawed a barrel in half to act as the camera’s body. Afterwards, she fashioned a mount that allowed her to attach a traditional lens to the barrel. After six weeks of trial and error, she had a working design and began shooting.
The process of transferring an image to glass is very involved. Howell hikes to remote areas with a miniature chemistry lab and darkroom in tow, working on the fly to mix up photosensitive chemicals, coat glass, expose shots, and develop the image – all in the span of 15 minutes.(Via Wired)
Jed Turner, a sculptor based over in Eugene Oregon, uses steel and found objects to create an aggressive body of work. Though Jed was originally trained in drawing/ painting, he finds his passion in sculpture. Influenced by the science of dichotomies, Jed enjoys working with contradictions usually between nature and machinery. Jed’s work will be featured at Parlor Gallery in Asbury Park, NJ for their show “Oh My Skull!” If you are in the area, make sure to stop by.
Dear Human is the artistic partnership between Jasna Sokolovic and Noel O’Connell. After meeting at a residency in Denmark the two began collaborating. Their work is based on common beliefs the two share and each project incorporates their respective strengths. Noel has material expertise and pays attention to detail where Jasna possesses great improvisational sensibility and an explorative nature.
Together their work draws inspiration from different environments. They appreciate places and spaces that allow them to experiment with materials, as well as other people, such as designers, architects and artists. Often their projects offer an alternative perception to overlooked everyday landscapes by revealing the hidden potential of places and objects. Ultimately they hope to inspire consciousness and curiosity.
The Sentinels were one such project. In part of the forest the duo regularly visits there used to be a grove of grand Douglas firs. Over a century ago they were cut down. At the time the technique to cut such giant trees was to chop wedges into them and embed horizontal planks to stand on, so the lumbar jacks could cut above the root line. Now the remains resemble empty eye sockets that, as the duo says, “longed for an intervention.” Inserting porcelain eyes into the slots the Sentinels were born and they silently keep watch over the forest.
Comic Sans Destroyer is a project that was designed by Happiness Brussels, a communication agency, in order to find a new graphic designer. The project includes an application you can use to apply for their job opportunity. The concept of applying for a job has gone creative for creatives! The artwork was done by Jean Andre.
Friend and past-professor Aaron Meyers created this amazing project on his free-time. It allows you to map YouTube videos onto an interactive 3D cube and then save it to a database so you can show your friends. As you spin around a YouCube, the sounds of the different videos fade in and out. Its seriously amazing. My video is the last on the list but the first one to be created during the trial run… its called ‘Hamster Wheel’, so look for it! Aaron’s also worked on the awesome Radiohead video House of Cards. You can see more of his projects after the jump.
Montreal based mural artist Jason Botkin loves to paint large, strikingly colorful abstractions of faces doing weird things. And bodies doing weird things. He likes to paint hands out of scale, eye brows quivering, bird faces animated, alien shapes in bright bold shades and cartoon characters who are larger than life. Recently returning from the Festival Internacional de Arte Público in Mexico where he collaborated with Jeremy Shantz on a series of weird masks and faces, he is no stranger to combining his distinctive pop style with other artists’, to create unforgettable imagery.
Botkin is not only a master of street painting and graffiti-style work, but also of installations and drawings – all which have a surrealistic twist. His work in Cancun is a natural progression on from his more figurative work which is aptly described here after the success of his second solo show in 2008:
Figures turn inside out, dressed in their emperor’s finest; bodies unwrapped to explore inner worlds, emotions, and ideas; vapors and clouds permeate architectural structures of unknown purpose; buildings chart impossible perspectives, cities in chaos; geometric forms emerge from and are swallowed by the imagined inner workings of internal landscapes. These various elements form a tapestry of self divined utopias and personal myths. These offerings are made with the belief that change is possible, when we reinterpret social identities and then test deeply entrenched, and often flawed social realities. (Source)
Leading on from that, Botkin leaned toward painting more cartoon-like heads complete with their own personalities. He adds a healthy sense of humor to his work and enlarges it, places in it a public sphere and allows people to enjoy it at their own leisure. See more of his paintings after the jump. (Via Hi Fructose)