Sophie de Oliveira Barata’s Alternative Limb Project applies an artistic approach to prosthetic limb design, seeking to create unique and personalized prosthetic limbs for amputees. With her degree in Special Effects Prosthetics for film and television from London Arts University and 8 years of work for prosthetic providers creating realistic limbs, de Oliveira Barata has now established her own studio working as a specialist consultant alongside prosthetists to create alternative prosthetic effects with direct input from clients. She also collaborates with other artists – designers, laser-cutters, metal, plastic, and wood workers – in order to maximize the potential for a unique prosthetic. In addition to her “surreal” and “unreal” prosthetic designs, she is also highly skilled in crafting realistic looking limbs.
The experience of losing a limb, often under intense and strenuous circumstances, can be alienating and disempowering. Through her work, de Oliveira Barata offers a creative form of empowerment, one that is both functional and fashionable.
“Generally the whole technology is moving towards trying to recapture a lifelike limb that looks realistic and also acts realistic in motion,” says de Oliveira Barata. ”In this instance I’m doing the complete opposite and I think it does capture that whole childlike imagination — it’s like being a superhero with super powers.”
“It’s drawing attention to their disability in a positive way…Rather than people seeing what’s missing, it’s about what they’ve got…Having an alternative limb is about claiming control and saying ‘I’m an individual and this reflects who I am.’” (via cnn)
Photography has long been used to document the scientific process and display visual evidence, so when Ulric Collette began to use the medium to show how genetics can exhibit itself, it was both the obvious similarities, and differences, that caught everyone’s attention. Working out of Quebec, Canada, Ulric, a self-taught photographer and graphic designer, began the photoseries in 2008 where family member’s faces were spliced together to create portraits that compared physical appearance with contrasting ages. The process seems like a no-brainer, but it was truly born from an accident. The photographer explains, “I was attempting to create something totally different with another project, and in the process I came up with the first picture, me and my then 7-year-old son,”. Realizing the easily viewed comparison between generations when shown spliced together, Ulric began to enlist the help of others to show the effects of genetics. He continues, “I decided to try the same process with a few family members and the project was born.”
Collette uses specific portraits edited down from hundreds of tightly-controlled photos, to create his finished works. Acknowledging that even with the advances of editing software, it is still very difficult to find an appropriate match that works, he explains the difficulty of the project, “I need to take a lot of pictures in a controlled environment of each model, compare the picture to one another, chose the right ones and stick them together in Photoshop” .
The photographer used many of his own family members to investigate these connections, including his daughter and mother (above, Ginette & Ismaëlle), and even himself and his own brother (below, Christopher & Ulric). Collette explains, “The reaction to the project never ceases to surprise me…A few of the ones I’m in shocked me – me and my brother Christopher, for example, we totally look the same!” (via huffington post and bbc)
I’ve known Drew Liverman longer than most other people in my life. Since the age of 14 we’ve gotten into all sorts of trouble together. At times we’ve lost touch for a year here or there but I feel a special connection to him that only happens when you spend your formative teenage years skateboarding and getting in trouble for graffiti together. One thing has been made clear over the last two decades of friendship with Drew. This guy is a creative super talent. I’ve always admired Drew’s creative abilities with anything that he takes on, whether it be our teenage graffiti shenanigans or his raw ability to jump from design, illustration, or painting with ease. With that said it’s no wonder that Young Sons, Drew’s latest collaborative project with Michael Ricioppo is also a visual feast.
Young Sons takes the concept of collaborative painting to new heights. Mixing a cornucopia of visual references from abstract expressionism to saturday morning cartoons, Ricioppo and Liverman work back and forth in unison and with intuitive speed canceling out, editing, and adding to one another’s marks. The result is a controlled chaos of line and form that is a bold mix of stream of consciousness and disciplined control.
See the work of Young Sons at Mass Gallery in Austin Texas through November 24th 2013 and read Andrew Bourne’s interview with them on Bomb.
Sarah A. Smith creates shimmering gold drawings with a combination of gold metal leaf, corrosive, ink, and pencil on paper. After she arranges the metal leaf that was mined and manufactured in China, she brushes it with copper sulfate, causing a chemical reaction that tarnishes and corrodes the gold metal along the surface of the paper. In the natural environment, this erosion process can take hundreds of years to complete. ”The oxidation illustrates pollution, disintegration, transformation of elements, changes, and the passage of time,” Smith says. The result is an incredibly detailed and textured series that while extravagant is also evocative of restraint because it emerges from a process of decay. (via my modern met and diablo magazine)
In Texas it is illegal for children to have unusual haircuts.
In Alabama it’s illegal to have an ice cream cone in your back pocket at all times.
In California nobody is allowed to ride a bicycle in a swimming pool.
In Connecticut pickles must bounce to officially be considered pickles.
In Texas, it is illegal for a child to have an unusual haircut. In Alabama, you can’t carry an ice cream cone in your back pocket at any time. You can forget about riding your bicycle in a swimming pool if you’re in California. Yes, that is illegal, too! All states have weird and obscure laws that don’t make any practical sense. But, we love to laugh about them, and photographer Olivia Locher has taken this one step further. Her series, I Fought the Law, depicts some of these absurd laws in some equally absurd photographs.
Locher has some great source material to work with and does it justice. Formally, her photographs are beautiful. They are colorful, well-lit with engaging compositions. Even something as mundane as pickles is made interesting. While some images are just simply nice to look at, others are more narrative, like the man biking in the swimming pool. I’m also curious at the potential story behind the several dildos places among fine China.
The eight photographs of I Fought the Law has whet my appetite for more. I’m happy to know that Locher intends to disobey the laws of all 50 states and continue this series. I’m looking forward to seeing what my state, Maryland, has come up with! (Via Feature Shoot)
Walter de Maria’s Earth Room, permanently installed at 141 Wooster Street in New York since 1980, is nothing but 250 cubic yards of black soil filling 3,600 square feet. As Jerry Saltz describes it, it is a “majestic work that gives us bodily confirmations of the power of scale, material, natural phenomena, and art.” Indeed, Mother Nature’s material can provide a profound art experience that other artists have also experimented with. Gabriel Kuri uses familiar, everyday materials like newspapers and slabs of grass to focus attention on contemporary consumer culture and the circulation of things like money, information and energy in our global economy. Ruben Ochoa’s works, specifically his “Overturned Foundations” currently installed at Susanne Vielmetter Los Angeles Projects, alter our relationship to the ground and the wall by shifting our perception of space. At The Carriage House at The Islip Arts Museum in 2011 Olivia Kaufman-Rovira installed a watering system that grew giant grass chandeliers over a six week period. The grass chandeliers were interspersed with others made of discarded plastic bottles. The sculptures were meant to comment on resources needed to keep up lawns, how non-biodegradable materials pollute our environment and how important our water supply is. Phoebe Washburn is a New York artist who incorporates organic matter such as sod or plants into her installations, which act as attempts to exert control over the chaotic. Mathilde Roussel’s works, often suspended in mid-air, are grass sculptures that represent the growth and decay of life. Representations of gravity, time and the fragility of existence the works are poetic and beautiful. Sean Martindale replaced cracked city tree planters in Toronto with grass, making it appear as though it had spilled out over the planter. A kind of street art, the planters brought beauty and attention to an otherwise damaged part of the city. Mylyn Nguyen is an Australian artist who gives form to imaginary figures by sculpting natural materials such as moss, pebbles dirt, twigs etc.
‘girl with a pearl earring and an iPhone’ – based on ‘girl with a pearl earring’ by johannes vermeer, 1665
‘always in my hand’ based on ‘in the conservatory’ by édouard manet, 1878-9
‘a family gathering’ based on ‘the balcony’ by édouard manet, 1868
‘her mirror’ – based on ‘rokeby venus’ by diego velázquez, 1647–51
Korean illustrator Kim Dong-Kyu gives technological updates to Girl With A Pearl Earring and other iconic works in Art History.
Kyu’s images, although hysterical, are quite critical of the way smartphones/gadgets have dramatically changed today’s social interaction. Themes of alienation, avoidance, self-centerness, and attachment prevail through the series of images. It is interesting to think back on the cultural history of most of these works [mostly the 19th and 20th century works on here]; the juxtaposition of the cultural implications of the scenes of each painting and today’s conception of socialization is quite amusing and very different, yet, at some points, very similar.
For instance, Degas’ The Absinthe Drinker’ from 1876, reveals the increasing social isolation in Paris due to a stage of rapid growth and confinement brought forth by the highly urbanized and elite-driven atmosphere of the new Paris. The woman, actress Ellen Andrée, blankly stares into the walls of a Parisian café. With a glass of absinthe in front of her, she solemnly contemplates the nothingness of what is going on around her. The man, painter Marcellin Desboutin, sits next to her but glaces towards the opposite direction, looking to catch on to something interesting outside of his close quarters. Similarly, on Kyu’s rendition, the woman find herself ignored and in a state of alienation as she is the only one not using a gadget.
These definitely leave us wondering if social interaction has been one of those things that evolve to become more of the same thing. With or without technology, it seems clear to me that the urban, and the elite societies, both rendered in these paintings (with and without Kyu’s additions), look to the outside, and inside, towards their phones, in order to fill some sort of void, and/or escape whatever lies in font of them. If this is true or not…that is up to you to decide.