Madrid-based artist Sara Landeta juxtaposes the natural world with the chemically engineered by using medicine boxes as her canvas to creates beautiful ornithological drawings inspired by the work of 19th-century artist John James Audubon.
By using the bird as her prime subject, the artist looks to explore the idea of freedom, or lack there of, in constricted and open spaces, and the notions of a natural world that is dependent on the synthetic to survive.
The progress on Landenta’s ongoing series can be seen through her Facebook page or on her personal blog. (via Steal Mag)
KOFTA is the brain child of Kiev based designer Konstantin Kofta. In his collections Hug, Born, Roots, he experiments with leather manipulation to produce surrealistic and elegant garments, accessories and wearable items. His pieces imitate body parts and look like they are extensions of the person wearing them. Including backpacks that mimic torsos, bags with raised vertebrae, straps with hands attached ‘holding’ onto the wearer’s shoulders, and shoes that look like feet, Kofta’s designs are delicately gothic. He describes his inspiration for the Hug collection further:
From birth, we try to stand up and take our first steps. We yearn to touch and be touched and to feel sensations for the first time. We can perceive objects with an unclogged consciousness. Pure perception without comparison. We know nothing other than that which we can see and feel… Spirit does not have form, but some forms can have spirit, vibration does not have a color but color can have vibration, mood does not have a texture, but textures can have a mood. In this collection we focus for the first time more on feelings than just on physical forms and we have created forms, colors and textures according to these sensations… (Source)
Designing with a emphasis on sensuality, Kofta loves to tease out an emotional response to his designs. He combines the unintentional and unexpected to produce durable, unique and wearable pieces of art. Kofta designs with the intention of adding unusual components to a person’s lifestyle, not just their wardrobe, and I would say his pieces achieve a lot more than that.
Gary Ward uses charcoal, graphite, oil pastels, and an overall sharp wit to examine humanity’s mess of emotion over the confusion of body and identity.
His Archeology Series, collected here, is a playful response to the quandary of life after death: how, despite fame, class, or notoriety at the end of it all, we are basically just a slew of skulls with slight form variations.
Regarding process, Ward, a self-taught artist based in Los Angeles, says he is “interested in how the mind and hand talk to each other in one uninterrupted sitting.” He likes to see the authorship of a flawed line and honors how each mistake can spontaneously charge the work in a new direction.
Size matters. Anamophic artist Jonty Hurwitz’s new sculpture series recreates the smallest human form ever at 20x80x100 microns, or roughly the scale of a human sperm. According to Hurwitz’s website, the size of these sculptures approximately equals the amount your fingernails grow every 5 or 6 hours. These tiny art works are too small to be seen by the naked eye!
We’ve previously covered Hurwitz’s warped sculptures on beautiful/decay, which also used physics to challenge human perception. These new nano sculptures, “Trust”, “Cupid and Psyche: The First Kiss”, and “Intensity”, explore the idea of science vs. legend, myth vs. reality. Created with a ground-breaking 3D printing technology, the work is ultimately created using two photon absorption—art made with Quantum Physics.
“As technology starts to evolve faster than our human perception is able to handle, the line between science and myth becomes blurred.
We live in an era where the impossible has finally come to pass. We have, in our own little way we have become demigods of creation in our physical world…. The nano works that I present to you here represent more that just a feat of science though. They represent the moment in history that we ourselves are able to create a full human form at the same scale as the sperm that creates us in order to facilitate the creation.”
Despite their microscopic size, these are detailed sculptures, with individual feathers in Cupid’s wings and tiny fingers, belly-buttons, and ears. It’s almost impossible to imagine that these realistic, emotive human figures are much smaller than an ant’s eye.
“The absolute fact is this: the human eye is unable to see these sculptures. In your hand all you see is a small mirror with … nothing on it. The only way to perceive these works is on the screen of powerful scanning electron microscope. Can you be sure of its existence if your basic senses are telling you that nothing is there?”
These sculptures were created in collaboration with The Karlsruhe Institute of Technology and the Weitzmann Institute of Science and involved over 10 people as a working team over several months.
Justin Bartlett is self proclaimed black ink warlock from the grim and frostbitten ravenrealm of Southern California who enjoys thee grimm riffs, vberkvlt metals, and other dark musick, times of solitude, skulls, and scotch. He’s done work for indie (and I mean indie) bands and record labels. Pretty awesome. Here’s a quote he leaves you with: “EMBRACE VISUAL HELL!!!”
Inspired by singularities, LHC and other high science, Ryan Wallace creates complex abstract images based on visual data. Nerdy? Yes. Completely beautiful? Also, Yes. Keep an eye out on this young New Yorker. Upcoming projects include a group show @ Cinders, a solo exhibitions @ Morgan Lehman, and a curatorial endeavor @ Raid Projects LA.
Julien Previeux’sPatterns of Life uses dancing lightsabers to reveal the simplicity and power of gesture. This 15 minute video is a highly choreographed work whose opening section uses light to uncover the essence of human movement. Dancers wired with lights illuminate the darkness and reveal the simplicity of movement.
Part galactic warrior and part neon sign, the dancers fill the space with the linearity of their limbs punctuated by shining spheres that add curvature and depth to their geometry.
But this is just the beginning of Previeux’s exploration of the intimacy of gesture and its implication in a world shared with others. Through what looks like a strenuous eye exam, Previeux demonstrates that eye movements have the power to reveal our thought patterns and perhaps betray our inner world to those who observe us carefully enough.
Also compelling is Previeux’s fascination with walking patterns and our natural tendency to follow the same paths again and again. By mapping the route of a young Parisian woman, where she works, where she lives, and where she goes to school, one of Previeux’s dancers uses tape to create a three dimensional model. Once mapped, her movements, which were assumed to be open and carefree, seem controlled and confined.
Patterns of Life switches between time frames and points of view. In doing so it presents us with various choreographed vignettes. Narrator Crystal Shepherd Cross guides us tranquilly through the intellectual terrain with ease so we can enjoy the grace that is Previeux’s work.
Julien Previeux’s Patterns of Life can be seen at DiverseWorks, Houston, Texas, in “What Shall We Do Next” until 19 March, 2016.