Designer Revital Cohen’sThe Immortal installation consists of five hacked life support machines so that they each keep one another alive. Each machine is circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering. Watch a full video of this piece in action after the jump. (via)
Not only does Steven Riddle make bold and eye catching collage work but he is also one of the featured artists in Beautiful/Decay :Future Perfect book. We can’t ruin all the fun and show you what Steven’s contribution to the book is but you can get your very own copy here at the B/D shop before it sells out!
Sarah Duyer is a San Francisco-based artist who brings ceramic tableware to life in unsettling and thought-provoking ways. Teapots with spidery legs scuttle across their platforms, dripping with black and blood red paint; bowls and mugs with human teeth and fingers resemble the offspring of botched laboratory experiments. Infused with body parts and the illusion of movement, each pot, bowl, and mug seems to take on a half-consciousness that troubles its status as an ordinary, innocent object.
Duyer’s creations arise from a curiosity about how an object’s design can produce comfort or discomfort—and her works elicit both. By coupling fun, pastel colors with creepy body parts, her works make us amused and repulsed. The interplay of life and death is also visible; one teapot (or “creature pot,” as she calls them) appears to stumble wearily, half of its legs broken off. The use of encaustic wax and rough, exposed clay in some of her pieces further adds to this ominous theme of biological deterioration.
In the following statement provided to Beautiful/Decay, Duyer explains her unique and investigative approach to ceramics, which seeks to re-explore the medium while reinvesting familiar objects with meaning:
“Ceramics as a medium is kind of tricky to classify, since it’s still stuck in the debate of whether it should be considered a fine art or a craft. I think with this project I really wanted to utilize my knowledge of traditional forms and techniques and challenge the idea that the two have to be separate. I wanted to alter the tradition and explore the relationship we have with the ceramic pieces that we interact with on a daily basis.”
In addition to these sculptural works, Duyer creates functional ceramics, such as plates and mugs etched with unique designs. Check out her website, Instagram, and Tumblr to learn more.
Larry Mantello’s colorful sculptures are candy coated shrines to american pop culture. Bright colors, glossy finishes, and cheap imported materials remind us of why pop culture is so appealing and disgusting all at once.
Emilio Santoyo creates a whimsical world where “tall boy” beer cozies playfully detail delicate, children’s illustrations style giraffes and back-yard bbqs are filled with cut-off short wearing, mustache-wielding heshers. We are so excited to see the works he created specially for the “Art Works Every Time” exhibition, opening just a few days away this Saturday, June 12! Check out his full interview after the jump.
A beautiful car crash. A lovely death. Chilean artist Fernando Gomez Balbontin paints haunted and haunting scenes in his series “Thoughts About Life and Death.” The subject matter is difficult, though not gory. Crumpled cars rest on roadsides, smashed and crushed beyond repair—these can’t be anything but fatal crashes. The figures next to the devastated vehicles are often otherworldly. A seeming specter of death wears a dark hood. Girls’ faces are obscured with blobs and blotches of color. Is it blood? It’s impossible to be sure. A priest stands next to one ruined car, the pope another. A man flees the scene.
Yet there’s beauty among the wreckage. The colors are often candy bright. A geometric structure floats, untethered, dripping in a way that’s reminiscent of tears, or blood. There are lots of these drippings in the works, adding an organic element to the mechanized disasters.
Balbontin paints the loveliest skies—peach and purple, cyan and gold. Nothing should go wrong underneath those skies, and yet…
“Denying death is denying life. So perhaps it is necessary to understand that tragedy is not the supposedly reality of death. Tragedy is about not accepting this possibility and consequently, not having enough time to live.”