Food artist Tisha Cherry turns the mundane into magical with the use of simple foodstuffs. She creates art on Oreos with the sweet frosting acting as her “paint.” The results are portraits of Yoda from Star Wars, Snoopy the dog, Mona Lisa’s face, and more. The small, impressive works look impeccable and present a conundrum for those who have a sweet tooth: to eat or not to eat?
Cherry’s food art extends beyond the twistable cookies. On her Instagram, you’ll find food arrangements, portraits, and a love for The Simpsons under the hashtag #ArtintheEats. Her Oreos are the most impressive, however, just based on their 2 inch scale and craftsmanship. The white icing has a luscious texture with subtleties that look like they were applied using a palette knife.
If you enjoy these portraits, check out the work of Judith G. Klausner. She also created relief sculptures on the iconic cookies. Is this a tasty new trend in art? (Via Illusion)
Facebook cover photos don’t just have to be a photo of your grandma or a view from your last vacation. When done correctly, they’re an art form. Like user Nikki, for instance. She’s taken these images to the next level and combined her cover photo and profile picture into often-hilarious pairings. Nikki takes on personas like Jesse Pinkman from Breaking Bad, Daenerys of Game of Thrones fame, in addition to appearing Jurassic Park, and throwing a football with Johnny of The Room (a personal favorite).
The key to Nikki’s success is believability. Not that she’s actually Jesse or that she’s affiliated with Sherlock, but that between cover photo and image, they both line up. She took the time to get the colors and costumes correct, and it’s seemed to have paid off. Nikki has won the admiration of the Internet with her unique spin. (Via Gizmodo)
Muscular stiffening begins between four and twelve hours after death. It starts in the neck and makes movement of the limbs impossible. When it reaches the scalp, it can make the dead body’s hair rise. Like goose bumps on the living.
His breast isn’t moving. The cells in his body have carried out the last of their work, the mechanisms have come to a halt and he is now not going to get any older.
In the chapel of the Pathological Institute of Aarhus University Hospital, the dead are received. Here they are dressed in clothes, their hair is combed and they are laid in the coffin, before we can say our last goodbye to those we have lost.
Here are lying women and men, girls and boys on ice, because they were careless, because they were unlucky, or because their time was come. This woman was found dead in her home. She has just been through an autopsy, which confirmed that she didn’t die the victim of a crime. Soon her body will be dressed and laid in the coffin.
These photos of the dead are purposefully anonymous. In “About Dying” Danish photographer Catherine Ertmann was aiming for the universality of death rather than the stories of these particular dead. And that’s what makes this series so moving. In photographing the dead so intimately, bare of everything, including their life stories, she has made room for the viewer in the morgue—as observer and as deceased. Who doesn’t project themselves into the sewn torso, the half-clenched hand, the freckled cheek? Will it be the zipped bag or the fiery crematorium in the end? How can we live fully if we can’t look at death?
“This project tries to break down the taboo by showing something we rarely have access to, and that death can be both hard to look an but also beautiful. Just like when a new life comes into the world when a woman is giving birth. It deals with the incomprehensible fact that life ends and hopefully remind the audience that our time here is precious and what things really matter while we are here.”
This project was approved by Aarhus Universitets Hospital (University Hospital of Aarhus, Denmark), where she and journalist Lise Hornung worked.
The only complete certainty in life is that one day we will die. It is the most certain thing in the world, and the biggest uncertainty we experience of the world, because nobody can say what will happen afterwards. Maybe that is why we find it so difficult to speak about death.
Canadian artist Tonya Corkey creates portraits made out of lint on canvas. Through her choice of material and subject, the artist looks to investigate an unavoidable aspect of human nature- precisely, the the need to collect memories and reconstruct the past. The series, “See You In the Future,” looks to further analyze this desire to recollect objects and moments of the past through a medium that encompasses the essence of loss and decay over time.
My work hybridizes the discarded material of lint with the second hand image – the iconic school photograph – to conceptualize my interests. Materiality conceptually layers the work. As a byproduct of society, lint consists of fibers, hair, dead skin and other debris, and thus directly referencing people and their daily activity. Lint and cast off photographs are both discarded materials – materials that reflect the idea of a decaying memory. Our desire for memory in absence is triggered by sensations of smell and touch, a trait of my work.
Matt Root combines old star atlases with religious and cultural icons, presenting them as shrines or monuments. Through these images he asks questions of identity and ownership within the American landscape. Currently Matt has been focused on objects that symbolize the cultural conflicts of life on the US/Mexico border and Arizona’s tenuous relationship with reality.
Ellen Jewett is a Canadian artist who creates flowing sculptural fusions of plants, animals and objects. Among her mystical menagerie is a wild boar with shrubs growing from its mane, foxes with tails sprouting into grass, and a deer whose body resembles a tree-shrouded grove. As singular beasts, Jewett’s creatures are beautiful and dynamic, but look closer and you will see that each one is composed of tinier parts, microcosms of flora, fauna, and objects that weave seamlessly together. These layered components infuse each sculpture with multiple narratives, from celebrations of life and growth, to stories of death, decay, and burden in the form of manmade debris. As Jewett explains:
At first glance my work explores the more modern prosaic concept of nature: a source of serene nostalgia balanced with the more visceral experience of ‘wildness’ as remarkably alien and indifferent. Upon closer inspection of each ‘creature’ the viewer may discover a frieze on which themes as familiar as domestication and as abrasive as domination fall into sharp relief. (Source)
Jewett makes the sculptures from the inside out, layering materials and utilizing negative space to create hollowed works that flow into the air around them: dense frames unravel into breezy foliage and empty space, creating habitats for fluttering, sculpted birds. The results of these disentangled bodies are creatures that speak their strengths via expressions of lightness, vulnerability, and emotion. Jewett describes this effect:
Over time I find my sculptures are evolving to be of greater emotional presence by using less physical substance: I subtract more and more to increase the negative space. The element of weight, which has always seemed so fundamentally tied to the medium of sculpture, is stripped away and the laws of gravity are no longer in full effect. In reading the stories contained in each piece we are forced to acknowledge their emotional gravity cloaked as it is in the light, the feminine, the fragile, and the unknowable. (Source)
As part of her creative and flowing artistic practice, Jewett strives to free her work from materials with toxic properties, such as glazes, paints, and finishes. This greatly limits what she can use, but at the same time, incites her imagination and makes her work even more unique. “Where possible I source the natural, the local, the low impact and, always, the authentic,” she writes (Source). Check out Jewett’s website for more beautiful and holistic creations. (Via Lost at E Minor)
Swiss designer Philipp Herrmann‘s “DIPLOM 2006” project was taken from the diploma catalogue of the graphic design class at University of Applied Arts in Zurich. I really like how, in the image above, the tape and camera angle beguile the eye to create a sense of depth on a flat surface. Very neat optical illusion!