Dutch designer Jolan van der Wiel creates unusual ceramic sculptures using the conflicting properties of metallic clay and magnets. His latest project “Magnetism Meets Architecture” features a number of fantastic gravity-defying architectural models and explores the possibility of using magnetism in architecture.
The process of making such sculptures starts by mixing clay with water to create a slip, a mixture with the consistency of cream. Then he adds metallic powder like iron with the ratio typically being 90% clay, 10% metal. The whole blend is then transferred to a nozzle similar to the one confectioners use for cake icing. Carefully building layer after layer, van der Wiel allows surrounding magnets to pull them into various shapes resembling a drip sand castle (passing a magnetic field through the material provides an opposing force to gravity, thus the clay is pulled upwards and suspends in its place).
Van der Wiel is fascinated with the idea of using magnetism in architecture.
“I’m drawn to the idea that the force would make the final design of the building – architects would only have to think about the rough shape and a natural force would do the rest. This would create a totally different architectural field.”
According to the artist, he got the inspiration from Catalan architect Gaudi who used gravity to calculate the final shape of his famous building La Sagrada Familia: “I thought, what if he had the power to turn off the gravitation field for a while? Then he could have made the building straight up.” (via Wired)
Rina Dragunova is a Saint Petersburg-based photographer and makeup artist who blends portraiture and still life with vivid and otherworldly imagery. Featured here is a selection of her darker works, all of which explore the ominous crossroads of beauty, death, and transformation. In one series, Dragunova photographed various snakes coiling around animal skulls and sliced pomegranates; the result is a morbid arrangement that weaves together decay and poison with the succulence of fruit flesh. In “Stigmata,” she further unsettles the imagination with the image of flowers planted in a woman’s chest cavity; the seeping blood contrasts grimly with the bleached-white background and sheer lace dress.
In “Conversion,” Dragunova demonstrates an incredible use of makeup art. With onyx-black paint and prosthetic fangs and claws, the model is transformed into a beast in the throes of mutation; charred scales erupt across her face as the possession takes hold. The fiery red eye in the half-turned face haunts the viewer with a look of building terror and inhuman madness. Like the abovementioned series, Dragunova never fails to seize the imagination by seamlessly fusing delicacy and light with savagery and darkness.
See more of Dragunova’s work on 500px, Behance, and VK.com. For Russian-speaking readers, you can watch a video of her snake photoshoot here.
This film is an intimate portrait of Mark Brookmire. He has lived a solitary life for the last 20 years in a cabin in the woods of Western New York. After Mark was diagnosed with terminal lung cancer and given three months to live, his daughter immediately sought to capture the spirit of her father as a poet, falconer and free-spirit in this deeply personal documentary. Watch the full documentary after the jump.
A tragic love story interpreted and represented in real life. Georgian sculptor Tamara Kvesitadze has created in real life the two characters who, despite their love, cannot be together. The sculptures are made out of metallic discs and are moving daily, embracing each other and parting in different ways.
Tamara Kvesitadze’s ‘Man and Woman’ installation depicts Ali, a Muslim boy and Nino, a Christian Georgian princess. It’s a symbolic representation of the Soviet Russia invasion which forces the two lovers to separate and leave for opposed directions. This tale is inspired by a novel by Azerbaijani author, Kurban Said.
The sculptures are 8 meters (26 foot) tall and are moving every day at 7pm for 10 minutes in the seaside city of Batumi in Georgia. If we look at the video above, we notice that as the sculptures move the metallic discs fit together and the bodies merge. The purpose behind this installation is to illustrate how elements, within a world where everything and anything is moving, can be synchronized and create attraction. (via Juxtapoz)
Black and white line illustrations, no written instructions, umlauts scattered like rose petals, that smiley cartoon guy—this certainly looks familiar. Illustrator Ed Harrington has subverted the ubiquitous directions sheet for his “Ikea Instruction” series. In Harrington’s world, it’s not streamlined Swedish furniture that’s being assembled, but monsters, killers, and Edward Scissorhands.
The clever illustrations make use of all of Ikea’s standard elements: the illustrated pieces, the bold sans-serif font, the crossed-out warning images. The Vörhees requires a simple assembly of one very large knife, one hockey mask, and one Allen wrench, whereas the Edvard needs 14 units of two different types of scissors, a heart, and hand removal. So far the DIY instruction sheets include Brundlefly from The Fly, a Human Centipede, Jason Voorhees from Friday the 13th, Edward Scissorhands and Pinhead, the Cenobite leader from Hellraiser.
Merging two incredibly popular, and incredibly different, pop culture genres makes this series work. Who could be next in the flat pack? Perhaps a small striped shirt, overalls, and an axe. Who wants to build Chücky?
Toshihiko Mitsuya is artist who undoubtedly proves that it’s not the quality of materials that creates great art—it’s the way those materials are used. Mitsuya’s medium of choice is aluminum foil, which he cuts, shreds, and folds into astounding representations of medieval battles, mythical creatures, and undead warriors. Taking advantage of the foil’s malleability and reflective surface, the armor and weaponry look deadly; conversely, it also has been manipulated to convey the softness of feathers and hair. Mitsuya has brought to life an everyday, ordinary material that is often viewed as trash. In some of his installations, he has created epic battle scenes in ordinary rooms, so lifelike that you can almost hear the crash of miniature weapons. The foil, while appearing deceivingly formidable, represents the fragility of life.
In September of last year, Mitsuya participated in an exhibition at Studio Picknick in Berlin. Titled The Aluminum Garden, the show involved rooms full of plants made out of aluminum foil; Mitsuya turned a material that was born in a factory back into the semblance of an earthly organism. You can read more about the exhibition here, and learn more about Mitsuya on his website. (Via Booooooom)
Monument for transition is a monument for the constant changes that the people of Moengo are subject to. It’s as well a monument for changes in the past as for changes that are happening on this very moment. It’s a monument for small changes, that are hardly noticable, and huge changes with great concequenses. It’s a monument for nature, that rapidly changes all unused objects into jungle by covering it with moss, bushes and tropical flowers. It’s a monument for Toyota, that changed the streetscape drastically by filling up the streets with their cars. And it’s a monument for the Chinese that came to Suriname and took over almost all of the supermarkets. It’s a monument for the enormous amount of schoolchildren that grow up in Moengo and are developping their talents and eventually might use these talents to make even more transitions to the town. But it’s also a monument for the enormous transition that took place after the civil war. A transition that is still having it’s effect on the people. And at last there are the transitions that are still to come. What transition will the current government bring? And what transition will take place after Suralco, the mining company where many Moengonese are employed, leaves the city? –Wouter Klein Velderman