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Awesome Video Of The Day: No Title Can Describe What The Hell This Is!

If you’re looking for a good reason to not take drugs then watch the video after the jump. I’m not really sure what we’re looking at but It’s either belongs in a museum or in a mental hospital. You be the judge.

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Luka Fineisen’s Gallery Bubbles

The work of artist Luka Fineisen seems like it may exist for only a moment.  Giant bubbles are scattered throughout the gallery floor.  The size of the bubbles are contrasted by their seeming fragility.  Fineisen in this way freezes a tense moment, stretching a delicate life long enough for close inspection.  The gallery’s reflection on each bubble reminds the viewer of the delicate and temporal nature of aspects of the world around us.  At any moment, something we’ve taken for granted can pop.

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Lotta Mattila’s Animal Sculptures


Lotta Mattila
is a Helsinki-based Finnish sculptor who is currently the artist-in-residence at Skylab Gallery in Columbus, Ohio. Mattila finds meaning in the contradictions between her sculptures’ form and their content (a literal battering ram made of glass), and uses those material contradictions to comment on human nature, often by punning off of Finnish sayings.

Mattila’s Skylab exhibition Gravitation opens Friday (11/30) and runs until December 10th. Gravitation takes the “weight of the world” – its physicality and heaviness when one is depressed – as its central metaphor. More of Mattila’s work can be found after the jump.

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Yusuke Asai Uses 27 Different Shades Of Mud To Create Massive Mural

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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)

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Antony Crossfield’s Intertwined Bodies

Photography by artist Antony Crossfield. I love his manipulation of the form of the body, as well as the feeling that each image is a still from a larger narrative.

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Kansas City Library Parking Garage Transformed Into Giant Books

Located in the heart of Kansas City, this project represents one of the pioneer projects behind the revitalization of Downtown KC. The iconic book bindings clad the outside of the parking structure for the new downtown library and help solidify the building as the cornerstone to the new Library District. Designed by Dimensional Innovations, local residents got to vote on which books would appear on the libraries facade. (via)

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Fashion Designer Creates Gorgeous Illustrations With Real Flower Petals

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The Singapore-based fashion designer Grace Ciao first started using flower petals in her illustrations when a boy gave her a rose; sad to see the gift wither and die, she incorporated it into a sketch of of a cocktail dress. Soon, the 22-year-old designer began using flowers in all of her creations, from party dresses to bridal gowns. From a single rose stem, she can create up to six separate designs.

The multidimensionality of the petals lends Ciao’s designs a unique and vibrant range; shadow and curve work together to flatter and accentuate the human body. The artist prefers to use flowers that contain within them a multitude of shades and tones; from their natural coloration, she can divine innovative prints and patterns. The garment and the floral organism dictate one another’s movements and structure; a falling yellow petal forms a ruffled embellishment or a bold one-shoulder sleeve, and the white ends of a tulip are layered exquisitely.

Ciao has a unique talent for making all colors, textures, and shapes look appealing and extravagant; an inexpensive carnation and a pricey orchid create equally luxurious garments. One can only imagine that as the petals wilt and eventually die, the garments go through a magical metamorphosis, transforming from fire-engine red to blood red and ultimately to a deep burgundy. As we move into summer, Ciao’s work is a delightful tribute to the ever-changing seasons and to the cycle of life and death. We cannot wait to see what she has in store as new flowers come into bloom. (via Demilked and Buzzfeed)

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Interview: Jason Redwood

Acrylic, cell vinyl, and spray paint on panel 20 5/8”x12”

Acrylic, cell vinyl, and spray paint on panel 20 5/8”x12”

Jason Redwood creates transmogrophic kalleidoscopic explosions of pop culture saturated lucid dreams. With a background in illustration and design, many of his images embody a vibrant, hard-edge pop aesthetic that could almost be digitally generated. In fact- Redwood sites the visual vernacular of advertising, web, television, billboards–the current day image glut–as being woven into his insane tapestries. Childhood memories, strange visions, and humor also play off each other in hypersectra, hypersaturated colors, into a “beautifully perverse mega-meal,” as Redwood describes them. His works are visual feasts of fancy, intensely seductive eye-candy that, if they were allowed to flash and vibrate on a moving screen, would probably induce seizures–but in a transcendant, ecstatic way.

 

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