Tully Arnot has a great sense of humor. His sculptures, installations and videos all have a subtle sarcasm to them, and are all a clever commentary on the man/machine connection, and the part technology plays in contemporary society. His latest sculpture in particular (Lonely Sculpture) is a amusing look at the current online dating app Tinder. Setting up a mechanical finger tapping mindlessly away at nothing, Arnot just places a mobile phone underneath the finger machine and proceeds to interact with other humans on the internet. Luke Letourneau sums it up perfectly in his essay about Arnot’s work:
[Lonely Sculpture] is a piece of technology that reflects the way we interact. Dating apps like Tinder are an aspect of socialization that allows for isolation: it reduces identity and demands judgement. The work heightens an absence or disconnect that already exists with this form of interaction. However, Lonely Sculpture does not reserve judgement. The artist’s mechanized silicone index finger taps yes to every dating profile that appears on the screen, even when the screen is loading new profiles the finger keeps unconsciously tapping, anticipating, longing. (Source)
Lonely Sculpture is not the only display of Arnot’s cynical sense of humor. As part of a larger show at Wellington Street Projects called Uncanny Residues, it is one of many pieces. All are concerned with the line between reality and the digital world, humans and technology, and how we interact and utilize different interfaces. Tuley definitely gives us something to think about next time we reach our fingers out to touch the screen.
Photographer Alex John Beck uses photo manipulation to explore the idea that symmetrical faces are the most beautiful in his series “Both Sides Of”. After taking portraits of a diverse collection of people, he digitally divides them. He then duplicates each side, matching right half to right and left to left, creating two new portraits of perfectly symmetrical faces. The original portrait is not shown.
It’s not a new idea—Julian Wolkenstein’s 2010 series “Symmetrical Portraits” is very similar. Wolkenstein’s website, echoism, also allows users to upload their own pictures to be made symmetrical by an open source program on the site.
Turkish photographer Eray Eren does a version as well, though his include a third, non-manipulated shot for comparison.
Still, the quality of these images is excellent, and they continue to evoke questions relating to beauty and character. It’s tempting to create a narrative for the “people” in these portraits—so similar but not the same—to look from one image to the other and measure attraction and interest. Both created faces are absolutely symmetrical, theoretically proving the commonly held belief that symmetrical faces are the most appealing. And yet, they’re not. The artist says on his website:
“The less symmetrical they are initially, the more different the characters suggested by each face. The more symmetrical faces betray their owners more subtly, however, one side proves clearer, the other more inward looking.”
Movie and video game animators have long struggled with the issue of how to make a realistic human face that can hold up to high definition viewing. It’s incredibly difficult to create faces that look different from all angles, in different moods, on different days. Often it’s the overly symmetrical features and consistency of appearance that make the characters obviously unreal. The asymmetry in our faces is what makes us human. (via Feature Shoot)
French designer Maud Vantours creates astoundingly detailed works of art from finely cut paper; carving out perfect geometric and organic shapes, she layers page upon page to create deep cavernous holes and intricate surfaces. With paper patterns of midnight blue and desert yellow, she constructs mesmerizing spaces, strange and wondrous terra incognitae, or lands unknown. Flowers sink like caves below the topmost surfaces; gray parallelograms, like mounds of be achy sand, are emerge from the page.
Vantours’s transfixing images catch and trick the eye, which is accustomed to viewing artwork on a single plane; her works exists in a space all its own, caught between sculpture and line. The work is made both from peeling away and adding layers, and we view it like a vibrant onion, unsure of where it begins or where it might end. Colorful, ever-brightening concentric circles seem infinite, and repeated, detailed surface patterns resemble complex cathedral windows. Blue and orange or green and pink, being opposite colors, visual pull apart from one another, creating an illusion of even greater depth within the thin pages.
From a medium as simple as paper, Vantours renders a dreamy world where organic and mathematically precise shapes are celebrated and fully explored. These deceptively effortless collages are a testament to the order of the natural world; neatly aligned, bright and neutral colors emerge from the shadows. Single and double-layered cut-outs occlude one another, forming complex visual structures that necessitate our attention and captivate our imaginations. Take a look. (via Demilked)
David O’Keefe’s clay sculptured caricatures are grotesquely accurate. There is a sliver of realistic figuration in their distortion that makes them strangely believable in their likeness. In particular the above image ruins my sincere affection for The Beatles, as they now look like horrible gremlins from a bad acid trip.