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Ka-Lai Chan

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"Selfportrait"


Young Designer Ka-Lai Chan is a 2009 graduate product designer from the School of Arts in Utrecht. Here products are visually pleasing and function well too.

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Mike Lemanski

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UK artist Mike Lemanski design style is clean and refreshing. Lemanski work mostly uses primary colors and is mix media. Most commonly using gouache, vectors, pencil and ink. ” I like to live within the idea that design is art”. Very sophisticated design and inspiring.

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Death By Chocolate: The Morbid Culinary Art Of Annabel de Vetten Is Too Gruesome To Eat

Annabel de Vetten - CakeAnnabel de Vetten - Cake

Culinary artist Annabel de Vetten creates, bakes, and sculpts incredible, artistic edibles that tend to be on the dark side. She makes sinister sweets that look exactly like bird skulls, animal insides, and the exposed organs of a cadaver. All of her detailed work would be impressive as a sculpture, but to make it with chocolate, cake, and icing takes a very unique set of skills. Her morbid, graphic style of cake making grew from a background of fine art and, not surprisingly, taxidermy. During this practice, Vetten became very familiar with the site of guts and bones, which is why the inside of her human and animal corpses appear so real, even though they are actually desserts.

You may wonder who would want to eat something that looks so horrifying, but Vetten’s business is booming! Her business, clever named Conjurer’s Kitchen, is wildly successful and only continues to grow. This means that her cooking not only looks amazing, but it must taste great as well. In order to accurately construct each bone and blood vessel, Vetten must only use the finest ingredients. For her chocolate sculptures, she must use high quality Belgian chocolate, so that the features won’t melt away. For the coloring, she invents deliciously creative ways to integrate food that naturally has the hue she desires, making both her technique and her subject matter equally innovative and unique. Vetten’s sickening sweets may display a deathly subject matter, but more importantly display unbelievable artistic skill. (via Munchies.Vice.com)

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Grégory Chatonsky Creates An Endless Mountain Range Of Kim Kardashian’s Face That Critiques Meaninglessness In Social Media

Grégory Chatonsky, Perfect Skin II — Digital artGrégory Chatonsky, Perfect Skin II — Digital artGrégory Chatonsky, Perfect Skin II — Digital art

The psychological effects of social media—seductive vortexes that they are—are well discussed. Every day, we are saturated with idealized bodies and enviable lifestyles—unreasonable standards of happiness and fulfillment that are based purely on constructed images. Seeking to criticize this culture of obsession and apparent emptiness, French artist Grégory Chatonsky has created a bizarre amalgam of Kim Kardashian’s face featuring more than 51,000 photos of her tagged on Instagram. Using a software program he designed using Unity3d, images of Kim K’s face are pulled and generated into a sea of amassed and distorted flesh. The effect is overwhelming and somewhat nauseating; facial features sink, expand, liquefy, and solidify like crushed and melted Barbie dolls. Chatonsky has literally transformed the celebrity’s face into an endless, empty landscape.

This project comes at a funny time, with Kim K’s book of never-before-seen photos, entitled Selfish, hitting the shelves last May. Chatonsky’s choice of her face is rooted in a blunt criticism, as he views her image as the benchmark of meaninglessness in the self-serving application of social media: “She has no talent, she has nothing exceptional, she is none other than our own design, that is to say the way she [is] represented to us,” he told The Creator’s Project. “It is simply an extended skin, everything is on the surface. There is nothing to look behind” (Source). Terrifyingly, the digital collage continues to grow and morph on its own. With intensity, humor, and a heavy dose of dizzying insanity, Perfect Skin II jabs us with a postmodern critique that visually demonstrates how the image—while highly valued in our digital culture—is a flat, empty simulacrum empowered by obsession and replicated beyond meaning or logic.

Check out Chatonsky’s website to view other fascinating and speculative projects, such as a contemplation on the photograph as a desperate—but finite—imprint of our times on Earth, and the discovery of the data humans will leave behind post-apocalypse. This latter project, entitled Extinct Memories, is made in collaboration with Dominique SiroisChristophe Charles, and Jussi Parikka and will be opening at Brussel’s Interactive Media Art Laboratory in September of this year. (Via The Creators Project)

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Vintage Photos Highlight The Devastation Of The 1968 D.C. Riots After Martin Luther Kings Death

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The year 1968 was a tumultuous time in America’s history, and Washington, D.C. was often in the middle of controversy. Following the assassination of Martin Luther King, Jr., on April 4, 1968, six days of race riots erupted in the Nation’s capital. Dr. Darrell Clayton Crain Jr. captured parts of the event and put them on Kodachrome and Ektachrome slides. Thanks to technology, these were scanned in to the computer and digitized. They’re now featured on the Flickr account Posthumous DCC, along with other pictures throughout the years.

If you aren’t familiar with the riots, they started as news spread about King’s death. Crowds began to gather at 14th street and U. Stokely Carmichael, an activist who had parted ways with King in 1966 and removed as head of the Student Nonviolent Coordinating Committee (SNCC) in 1967, lead members of the SNCC to different neighborhoods. At first, they politely demanded that stores close out of respect. Eventually, the crowd became out of control and were breaking windows. Widespread looting started by 11PM (as well as in 30th other cities).

Things got worse in the following days. Anger was still evident and it resulted in violent confrontations with the DC police. Buildings were set on fire. Police unsuccessfully tried to control the crowds with tear gas, and eventually the National Guard was brought in. Marines mounted machine guns on the steps of the Capitol and army troops guarded the White House. It was the largest military occupation of any American city since the Civil War.

These vintage images showcase just how bad some of the destruction was. By the time the city was considered calmed down, 12 were killed (mostly in burning homes), 1,097 were injured, and over 6,100 were arrested. The devastation to property was $27 million (over $175 million today). Some neighborhoods in DC didn’t start to economically recover until the 1990’s.

See more of these powerful images on Flickr.

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Jed Heuer

Jed Huer portfolio-1

Jed Heuer, a Graphic Designer, typographer and illustrator from New York sent us a really awesome portfolio in the form of a newspaper. This newspaper contains his most recent studio design work. I find his designs very intuitive and his typographic work very dynamic. Check out his website for more details on his studio projects.

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Rebecca Glover’s Sinister Installations

British artist Rebecca Glover works in several mediums, but it’s her installations that are especially striking.  The three installations pictured here – Space Invader, Flat 51, and The Inhabitant – invades the insides of an apartment and galleries.  The calming, almost mesmerizing, color of the spikes clash against the installation’s overall sinister nature.  She describes the installation in interview:

“I had an idea to create a sculpture that broke through the space and played with this idea that there’s something latent in the walls; playing around with what lies beyond what you can see.” [via]

The second series of photos are taken from the Market Estate Project in which seventy-five artists worked with residents to install art in a soon to be demolished housing estate in London.  The work and apartment buildings were destroyed the very next day following the art’s installation.

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Chlorophyll Skin

An experimentation into color, movement, absorption and the body by Lucy McRae and Mandy Smith.

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