Towering 13 stories above the Des Moines River Valley in Iowa, The High Trestle Trail Bridge is one of the largest foot bridges in the world. Completed last year, the bridge now comes complete with one of the best examples of public art I’ve seen in a long time. Designed by David B. Dahlquist of RDG Dahlquist Art Studio, the steel beams that swirl around the bridge not only accentuates the motion of pedestrians moving back and forth across the bridge but also create a gorgeous op-art effect that makes you feel as though you’re in the middle of a surreal stop motion animation. (via) Nighttime photographs by Homemade Iowa Life.
We’ve added 6 new wallets to our online shop! From the psychedelic and serious to the geometric and saccharine, there’s sure to be a wallet to tickle your fancy!
Each wallet is made of durable vinyl (double layer for extra strength), containing 3 slots for credit cards, a bill slot, and a change purse. Measuring 8.5″ x 3.75″ when open, each folds perfectly to fit in your pocket (4.25″ x 3.75″). All are limited edition, and online orders come with a matching badge/pin.
The highly detailed paintings of Valerio Carrubba offer an unexpected combination of styles that strangely complement each other. His scenery and figures seem to emerge from a Renaissance and Baroque tradition. Mysterious hands pull and cut at the flesh revealing each subject’s inner anatomy in a nearly cold way very similar to modern anatomy atlases. The scene as a whole, however, bears the definite influence of surrealism. Carrubba works these various styles and aesthetic sensibilities as skillfully as the oil paint. The boundaries are seamless and carefully worked.
Graffiti artist Jesse Hazelip tackles major social issues in his work. Here are some of his pieces from the exhibition Sentimental Journey in which he reflects on WWII and our occupation in North America. For those who are curious, the name Sentimental Journey comes from an actual bomber plane.
Like stunning x-rays from an alien world, Bruce Riley‘s resin paintings seem to be lit from within. His playful shapes and psychedelic colors blossom in suspended animation, humming with as much electrical energy as any other multicellular organism.
Riley describes his process as intuitive and organic, saying, “I’m not really trying to define any ideas, I’m just letting it flow.” Watching him work is certainly hypnotizing as fluorescent greens and ozone blues blossom and blend into each other. The paintings can be appreciated from afar as well as up close, each brimming with meditative detail.
“You’re always investigating,” Riley says of his process. “It’s not about an end result. [You’re] trying to use techniques that you remember but also looking for things you’ve never seen before.”
Part of the beauty of Riley’s work is that it can be appreciated on various levels. Open to interpretation, one could call it the secret life of lava lamps . It could also be described with a narrative, a foray into extraterrestrial forensics. Or you could just take it as it is: the stream of conscious of a man who certainly knows his way around a paint brush. (via This Is Colossal)
Valerie Hegarty’s Alternative Histories was installed at the Brooklyn Museum in one of their Period Rooms. Hegarty’s site-specific installations toy with a viewer’s perception—they create the illusion that the process of destruction or decay has been accelerated and what we see are the remains of the real artwork.
Thomas Quinn is a Chicago designer who experiments with something called “anamorphic typography.” When viewed from a certain angle the text looks just right, but when one moves around the text morphs and warps.
Fanette Guiloud is also interested in anamorphic projection and used the method to create a series of photos titled Géométrie de l’impossible (Impossible Geometry). Only 22-years old, the illusion is impressively successful. Influenced by artists such as Felice Varini, Guilloud is certainly an artist to keep our eye on.
Creating installations that defy logic and inspire wonder South Korean artist Kyung Woo Han says of the work, “All the facts are relevant. People see what they want to see. One fact can be interpreted in several ways depend on our perceptions. In the opposite, two different facts can be looked the same. My work deals with perception and illusions. Everything we see or what we know is not absolute. I suggest various ways to perceive things with slightly different perspectives.”
A new invention redesigning sticky notes has a 50/50 chance of becoming successful. Switch Notes by suck uk stationary store, was created with the same thought in mind as a refrigerator magnet or bulletin board; used as a simple tool to help remember “things to do”. The original sticky note was invented in 1968 by 3M chemist Dr. Spencer Silver. At the time, he was looking for an adhesive that could stick to things and be reused or repositioned multiple times. He proceeded to invent low-tack tape. This was released on the first sticky note marketed as Press ‘n Peel back in 1977. Its yellow color came from the scrap paper used in tests and in 1980, the product was reintroduced as Post-it Notes.
The new and improved humorous design of Switch Notes is slightly different from post-its, because it has a light hole switch in the middle. This added feature enables the user to put it on a light switch doubling the reminder value. The design is greener and saves paper, but according to initial feedback, isn’t sticky enough and tends to fall off when placed. If so, it kinda defeats the purpose of “no brainer convenience”. Does it really make sense to take another step and place something deliberately on a light switch? And what if you forget to shut off the light, then what? Late fee.
Still, those who love anything new and different will buy into it. The company suck uk who makes Switch Notes, specializes in unique items for the home. Some of their bestsellers include an LED light which turns old bottles into lamps and an umbrella which changes colors when rain hits it. (via lostateminor.com)
The figures in Sarah Louise Davey‘s world are haunted, magical, nymph-like creatures who are both hard to look at, and delightful to see. She sculpts double headed woman-beasts who are tortured, but hopeful; disgusting but ethereal; grotesque, but innocent. Her work is a blend of aesthetics and emotions. By presenting us with these gruesome half-human half-monsters, Davey is essentially asking us to evaluate our own aesthetic measures – what do we consider beautiful and why?
Can a bald dwarf with saggy pig ears and forlorn eyes sprouting fungal forms still be attractive? We can definitely appreciate the craftsmanship of the object, and yes – somehow find ourselves wanting to look at it again and again. Davey says she also wants to question her own standards of beauty:
Through the vessel of the figure and materiality of clay, I create sculptural objects and installations to evoke intuitive, visceral responses informed by our subjective notions of physical image and societal norms. I question my own experiences of these through the various personalities that emerge with each hybrid portrait, as they are often an exaggerated mix of whimsical beauty and exaggerated macabre. (Source)
She herself calls her creation-beasts ‘feral’ and ‘beastly’ – yet she can see parts of herself and various personalities she can relate to within them. She is able to reflect on her own experiences through the broken brutes and we can see that while we are all human, we are all also part ugly, tortured animals.
At the heart of these works is the eternal push and pull of the spirit. The two-headed beast, the twin within, living just beneath the skin, sharing the shell and breathing life in through the cracks. They are psychic creatures blistered by hope and beaten with twinges of nostalgia. (Source)