In a surreal and slightly disturbing series titled Running Gag by the Hamburg-based studio POP. Postproduction, they imagine what it would be like if shoes teeth to accompany their tongues. POP specializes in photo-retouching, and manipulated the images has the loafers, boat shoes, and Converse sneakers laughing and grinning. Some have a gap tooth, others a gold grill, while some have hardly any teeth at all.
There is some correspondence with the teeth and the shoe. For instance, the pink canvas shoe with decorative laces has a mouth full of braces, so we’d imagine they are a teenage girl. The gold-studded loafer is an “alternative style” to the preppy shoe, so its gold lip ring feels appropriate.
Despite being slickly-produced and brightly-colored series, the Running Gag is subtle, and it’s only after more than a seconds glance that you realize there are teeth in these shoes. It’s POP’s Photoshopping skills that add to the believability of these characters, and they look liked they’d be right in place in a horror film. (Via Design Taxi)
Elizabeth Tolson‘s range of interactive, light up futuristic styled dresses are a light-hearted look at quite serious topics. Called Vessel, the concept centers around two garments – the Fertility Dress and the Chastity Dress. Combining cutting edge technology, soft circuity, connective threads, connective garments, simple switches and plain white cotton, Tolson has created two innovative wearable art pieces that are dealing with feminist issues.
The Fertility Dress works in cohesion with the female body. It contains lights that change color depending on the woman’s menstruation cycle and fertility. The lights turn blue to indicate ovulation, red for menstruation, and glow white to indicate excellent hygiene, and finally, turn yellow to denote poor hygiene levels. This dress is meant to not only display internal bodily states, but also to remind us that woman are fertile beings, all day, everyday.
The Chastity Dress is a combination of lights and sounds, triggered by sensors that go off if certain parts of the garment are touched. Tolson explains more:
So the final result of the Chastity dress had sensors so when the girl in it was touched inappropriately, sensors went off to remind her of how she should behave. It was creating an audience for the girl as an object because she needs to watched over. It was a way for people to be aware of her actions, but she also needs to be aware. I also created a bra that has sensors so if you push her chest it creates a high-pitched noise. (Source)
Inspired by strange dating books she was sent from her mother, Tolson wanted to draw attention to some outdated attitudes that still exist about female sexuality. With a playful , tongue-in-cheek mentality, Tolson manages to raise awareness about gender politics, marriage equality, abortion laws, birth control and a whole plethora of topics most people love to avoid. Read more about her work here. (Via Design Faves)
Jeremy Floto and Cassandra Warner of New York-based photography studio Floto+Warner have created a fascinating series of photographs of colored liquids thrown into open landscapes. Titled “Colourant,” the series emerges out of the artists’ ongoing interest in vast environments, as well as the relationships between place, figure, and form. The images feature colored, environmentally-friendly water mixtures floating in the air like alien clouds or frozen waves. There is a palpable tension between motion and stillness, created by the clash between the rapid event and the peaceful backdrop of the Nevada desert. Incredibly, no Photoshop was used in the creation of this series. In a statement provided to Beautiful/Decay, Floto and Warner shared their method:
“We shoot with a high-speed shutter to freeze the action of the throw. Typically, our shutter was around 3200th of a second. Each photograph is set in the open landscape. We don’t stick to the rules of traditional landscape photography in this series. We choose instead to shoot under the harsh midday sun to amplify the adverse feeling of the scene. We use hard lighting and prefer atmospheric space to allow the sculptures space to breathe. For the preparation, we mix a small amount of non-toxic color by hand with a gallon of water and then literally throw it into the air.”
With their bright colors and dramatic forms, the “Colourant” images do an excellent job seizing our curiosity and attention. Floto and Warner call them “floating sculptural events,” or “short-lived anomalies that pass you by at an imperceptible flash.” Not only do they visually defy categories of “liquid” and “solid” matter, but they trouble the line between transience and eternity; captured by the camera, the airborne splashes seem as though they could exist forever, embedded in the landscape. “Colourant” also unveils our perceptual limitations, as such chaotic and beautiful forms cannot be seen without the intervention of technology; just as we cannot fully perceive the fleeting details of waves crashing onto the shore, Floto+Warner’s series remind us that there is more to nature and reality than meets the eye.
As exploratory images, “Colourant” will likely foster a variety of inspiring (and potentially conflicting) interpretations. When asked about how they viewed the series, Floto and Warner explained:
“We see this series as representing a clash between man and nature, [as] giant blobs taking over and obstructing the landscape. That said, we also feel they are quite ambiguous and let people enjoy them as if looking at clouds. Typically, when people see them, they react with a moment of joy, elation, or wonder (which we are happy with), but then there are a lot of people that see the stain. We love the duality of the image.”
Check out Floto+Warner’s website to see more of their works, including “Fume” (2009), the thematic precursor to “Colourant.” Be sure to follow their work and see what creative explorations of various landscapes they dream up next. (Via Honestly WTF)
B/D head of security, Ziggy, models the “Art Works Every Time” t-shirt, which will be given away to the first 100 people to arrive at our opening tomorrow night, June 12 from 8-11!
The shirt features Colin Strandberg’s award-winning design (which you have seen on our exhibition flyer) and super-shiny metallic gold and silver ink! (Shiny!) I’m only exaggerating slightly when I say that this shirt is badder then fixed gears and cigarettes COMBINED. So come early! Details and more of Ziggy vogue-ing it after the cut.
” As Christ’s representation is deeply rooted in the collective unconscious, “accessories” are not needed anymore to evoke it. However, the body is “trans-substantiated” into a feminine one. Emaciated subjects illustrate a concept which is more philosophical than liturgical. These abstract crucifixions reflect the powerless situation one faces when confronted with death.” (via i heart my art)
KHUAN+KTRON is a three person design studio based in Belgium, though its members come from all over – Japan, Russia, and, uh, Belgium. Their varying backgrounds is clearly a boon to their work, which shows a lot of influences. Actually, KHUAN+KTRON have helpfully listed some of these influences on their site, so we don’t have to guess at what they are – medieval torture techniques, people with monstrous sideburns (not counting women), and free jazz are just a few. Check out the full list on their site!
Kevin Christy lives and works in Los Angeles. He utilizes unyielding iconography to present allegories about the world we inhabit. Christy seems to have a firm grasp on popular culture and historical events and uses it to mock and enlighten. From a strikingly humorous depiction of Adolf Hitler slipping on a banana peel to an extended tee shirt adorned with the American Flag Christy channels the present and the past in his satirical depictions.