At Beautiful Decay we are beginning to bring our readers weekend coverage, where we’ll be sharing micro art trends of the unusual and unexpected every weekend. And we figured what better way to start than with dessert?
The work featured here of artists Peter Bugg, Rebecca Holland, William Lamson, Aude Moreau, Navid Nuur and Kara Tanaka demonstrates that diverse ways confection can become conceptual. From the painstaking process of Moreau’s Sugar Carpet (which uses 4,500 pounds of loose Domino sugar) to the haunting ephemerality of Tanaka’s Social Leveler (When Immortality Became Uncouth), the use of sugar as a medium, sometimes in combination with other materials, becomes an expansive tactile vehicle.
Working with one of the most socially relevant and controversial topics of recent years, artists Pascal Leboucq and Lucas De Man have installed a clever take about what it means to be surveilled, to survey and to be under surveillance. Their EYE project consists of 5 enormous eyes built into the sides of different buildings around the Dutch city of Den Bosch that viewers are able to inhabit and experience a dramatic view of the city from.
Once inside the different buildings of the project (including a theater, a modern hospital, an old building ready to under go construction, a monument and a corporate building), observers are ushered to a seat, fastened in and wheeled out into the hanging structure. They are then immersed into a multimedia sound and video experience altering the way they are able to see themselves, their peers and their environment. Artist Lucas De Man says about the metaphor of eyes in this project:
A city with eyes is a city that looks and shows itself. No closed doors or shut windows, but open. We gave the city eyes so you can hang in the air above the world and look. Just look. (Source)
Lucas also talks about his desire for a more connected existence within cities, and how important it is to have these immersive experience to change our interaction with each other and within our shared environment.
Man wants to be heard and seen and has the need to share his vulnerability every now and then. The city must accommodate this need by being a place for, of and by people. (Source)
The Eyes are still open for viewing until November 1. They will then be on tour in 2015.
Salão Coboi is not a singular artist like you’d assume from the sound of the name, but rather a collective of individuals based in Portugal. They hit major attention on the blogosphere in 2011 when they did a project named Generation H, in which they sculpted figures wearing clothes modeled after actual items by haute couture houses like Prada, Alexander Wang, and Junya Watanabe. And there’s just something charmingly unique and European about the characters Salão Coboi create, which really makes me feel the same positive energy I get whenever I look at the wonderful designs of The Yellow Submarine and Wallace & Gromit. However, Salão Coboi have taken that kind of work to the next level by making it not just for children, but also adults as well. Beautiful/Decay featured the work of Salão Coboi a lift bit ago HERE.
With a moniker like Daisy Balloon, it’s no surprise that their medium of choice is balloons and sculpted like you’ve probably never seen them before. The artist (whose real name is Rie Hosokai) uses them in window displays and as art objects, but more surprisingly, fashion. Taking numerous small balloons, she gathers them into large groups that make up long flowing dresses, body suits, and structures reminiscent of armor. Her avant-garde designs are worn by models and celebrities like Bjork (are you shocked?).
Her entire portfolio is no doubt impressive – after all, keeping all of those balloons full is no small feat – but the colorful, giant teddy bear that’s constructed completely out of smaller teddy bears is the right mix of visual ingenuity, nostalgia, and fun. (Via Spoon & Tamango)
The deep sea has been immersed in total, complete darkness since the dawn of time….shrouded in mystery, blotted in the black of inky…ok, forgive me. Claire Nouvian has just produced a new photographic book called “The Deep: Extraordinary Creatures of the Abyss,” and it kind of blew my mind (hence instigating my attempted, British-accented attempt at a movie narration/poetry.) In crystalline detail, some of the strangest alien sculptures, etheral orbs of light, and mosntrous creatures have been exposed. Seeing as there as some estimated 10-30 million creatures down there we still haven’t discovered, in one of earth’s most plentiful habitats, I can only say…I can’t wait for the future.
Welcome to the hyper colored world of Australian artist and designer Nick Thomm where neon covers everything, digital altered photos are the norm, and everything is just a bit surreal. From neon text pieces to altered scanned images nothing is safe from Thomm’s neo-psychedelic touch!
Olivier Ratsi‘s latest project Onion Skin is an attempt to create an unreachable plane by physical means. Two walls are connected at 90 degree angles, and a series of visual light displays plays simultaneously off of the joined walls, created a uniquely intangible, unreachable dimension. This type of work is typically elaborate for Ratsi, who describes his works as “The deconstruction or fragmentation acts mainly as an emotion trigger, which does not aim at showing what things could be, but more at questioning their references.”
Shapes that begin to form are quickly changed, morphing into others and blending into a seemingly 3-Dimensional landscape. Ratsi, who is also the co-founder of visual art label AntiVJ, gives the viewer a sound component to coincide with Onion Skin‘s hypnotic geometric shapes overlapping, peeling and unfolding. Ratsi explains, “Its aim is to generate a break with the meaning of the original items, to propose a new viewing angle and to provide the public a new field of experience, another way of looking at space and time.”
Onion skin is currently installed in Belo Horizonte, Brazil (until November 30th, 2013), after which it will be included at an exhibition at the Parque Lage in Rio De Janeiro (December 7th and 8th, 2013). (via designboom)
On an ethereal ground of white light Christophe Avella-Bagur shows us archetypal representations of male and female bodies that answer our expectations of mass-produced perfection. Avella-Bagur disrupts this ideal with a second layer of portraits painted in visceral flesh-tones that never quite register with the face’s outline. The two portraits are collapsed together to create disturbingly distorted juxtapositions painted in the grotesque manner of El Greco or Goya.
Avella-Bagur first began the Floating Souls series in 2005, working in a medium-sized format. These paintings contained archetypal figures with their eyes closed, in which a “floating soul” was depicted attempting to register with its host. Now the idealized bodies have their eyes open, creating tension and visual complexity between the two faces.