Latest collaboration between paper and set designer Alexis Facca and photographer Tom Joye transforms three dimensional spaces to look like flat, two dimensional paintings. With the creative use of angle and perspective, Facca and Joye were able to obtain the desired illusion and deceive the viewer’s eye.
The Flat Project actually features a miniature 1 x 1 meter set made from paper but in 3D. Seems like the set was flipped and turned to create images from various angles. Without knowing, it is hard to tell which is the floor or ceiling. Here’s an explanation by Facca on two of her creations:
“For example in the first image the red is the ground, the wood a wall on left and blue is in the foreground. On the second image (below) the ground is made with wood and the red.”
Artist Maude White combines her gorgeous illustrative skills with intricate paper cutting expertise to create incredible paper work creations. A self-taught artist, she credits her Waldorf education and artistic family for encouraging her to create.
“I am influenced by my mother’s art a great deal. When I was little she would make wool felt playscapes — little scenes of a tree stump in a forest-covered in plants and animals, a small garden scene with vegetables and apple trees, a playscape for the story The Three Billy Goats Gruff. It was these types of small, precious, complete worlds that drew me to working with paper.” (Source)
Using an X-Acto knife she cuts each piece by hand slicing away the negative space to make elegant figures with fantastic hidden scenes and stories laced into the designs. “It may sound weird, but I love to cut. I just enjoy the process,” she said in an interview.
White’s paper cutting technique is almost unbelievable—the fine lines and elaborate detail are incredibly impressive. What gives these pieces their charm, though, are the whimsical drawings and ornamental designs. They would be lovely drawn on paper, but the delicacy of the paper, the cast shadows, and the ability to look through the empty spaces make these pieces captivating.
“When I cut paper, I feel as if I am peeling back the outer, superficial layer of our vision to reveal the secret space beneath. With paper cutting there are so many opportunities to create negative space that tells its own story. Letting the observer become present in the piece allows him or her to look through it. … I am not creating for Art’s sake. I am creating for Paper’s sake, to make visible the stories that every piece of paper attempts to communicate to us.” (via booooooom)
Speaking of surrealism how about the works of Sarolta Bán? These epicly surreal photographs are painstakingly created digitally creating a seamless world where bears read stories to small birds, trees grown in the sky, humans live inside cameras, and keys as tall as buildings are portals to an alternate universe. Sarolta’s images transport us deep inside storybook fictions where every dream can become a reality as long as you believe.
James Joyce is a London based artist and designer. His work is a mixture of simple typography, bold colorful colors, and crisp geometry. Joyce designs are very bold and eye-catching. I enjoy the simplicity of it but, like the “Chemical World” poster, it has a not so simple message.
Ubu Gallery is pleased to present GEORGES HUGNET: THE LOVE LIFE OF THE SPUMIFERS, an exhibition of hand-painted photographic postcards by the eminent Surrealist artist, poet, bookbinding designer and critic. These bizarre, lusciously painted images illustrate Hugnet’s work, The Love Life of the Spumifers, where each accompanying text poetically and humorously catalogues the mating habits of a fantastical creature or Spumifer.
The Love Life of the Spumifers, or La Vie Amoureuse des Spumifères, combines Surrealist poetry’s fascination with l’amour and Dada’s tendency towards deliberate grammatical spontaneity and absurdity. Made-up words, like bowoodling, friskadoodling and alabamaraminating, are concocted to describe the seductive strategies of his imaginary creatures. Each text is dedicated to a different creature, describing how it woos, teases, gropes and molests its intended love conquest. Each Spumifer is illustrated by a gouache “beast,” which is added to an early Twentieth Century vintage “French” photo postcard. The mellifluously painted monsters slyly slither around the bare flesh of the pictured “mademoiselle,” nibbling and tickling, arousing her sexual desire. Hugnet’s illustrations seduce the viewer, parodying the human pursuit of love and lovemaking through these adorable grotesques.
Hugnet realized the series The Love Life of the Spumifers during 1947–48 and wrote the accompanying texts in the early 1960s. The whereabouts of four of the 40 original Spumifers intended to complete the series are at present unknown. Hugnet composed only 33 texts and one of those texts accompanied a missing work. He created a number of additional Spumifers, maybe as many as 20, which were not part of the final 40 which he had intended to publish as a book. The show is on view until January 28th, 2012.
I finally got around to watching the epic video project by TV On The Radio and I have to say that it doesn’t disappoint. Nine Types of Light is as much an album as it is a movie by TV on the Radio. The movie is meant to be a visual re-imagining of the record, and includes a music video for every song on the album. The band personally asked their friends and the filmmakers they admired to help direct the music videos. Tunde Adebimpe, the director for the full Nine Types of Light movie, storybooked the music videos together with interviews from local New Yorkers on various topics, including dreams, love, fame and the future. Tunde also directed the music video for Forgotten. If that’s not enough my longtime pal and super talented art dude Nick Kuszyk co-created the video for Repetition. Watch the hour long video in its entirety after the jump.
This dream-like mural is the result of two long weeks rubbing clay, mud and dirt, day and night into the walls and floor of Rice Gallery in Houston. Since 2008 Japanese artist Yusuke Asai has been creating these earth paintings. His latest one, titled Yamatane (meaning Mountain Seed in Japanese) was created purely with locally sourced natural materials. With the help of volunteers and the staff of the gallery, Asai collected 27 different shades of dirt from around Houston. His palette is surprisingly varied – the fertile soils of Texas provided him with many tones of yellows, reds and even a rare shade of green. Wanting to form a connection between his visual art and the location he is working in, he says digging for the various samples is an important part of the process. Asai speaks of his fascination with dirt:
I choose to use the earth as a medium because I can find dirt anywhere in the world and do not need special materials. Dirt is by nature very different than materials sold in art stores! Seeds grow in it and it is home to many insects and microorganisms. It is a “living” medium. (Source)
Not formally trained, Asai learned his image making skills from sketching animals in zoos and visiting the museums of his native Japan. Observing different mark making techniques from other cultures and folklore, he has been building his own version of the natural world for some time. His subject matter also echoes those that are fundamental to primitive societies – that of the nature that surrounds us. Asai says:
Imagery of figures and creatures comes to me in the moment. Fox, bird, cat, and sunshine – everything has a role; parts disappear and something is added. I begin each work thinking of the countless small things that come together to make a larger world. (Source) (Via Colossal)