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Ceramicist Lauren Gallaspy Creates Fantastical Sculptures Confronting Vulnerable Imbalance

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Artist Lauren Gallaspy creates unique and dynamic ceramic sculptures that play with notions of fantasy and duality. Her work, beautiful, adventurous, and full of a sense of wonder, invokes magical moments of nonsensical, yet somehow perfected, chaos. Her intention lies in finding balance in seemingly irrational binaries. She explains, “the things that I love and the things that I fear refuse to balance out. They scrap like cats, cloak and conceal like kudzu, terrify and delight, like a large, shaky lake or a dog swimming hard towards a floating ball.” The artist uses this tension to create creative and inventive ceramic sculptures, which are not only experimental by nature, but break boundaries of traditionalist methods of pottery. Experiencing Gallaspy’s work is like an investigation. Each color, each angle, each new treatment of material is expressive and fascinating. Her work screams out for a quiet attention, being open ended yet intimate. Her work emphasizes the complexity of humanity, the ups and downs of just simply being. She explains;

“My work is about that imbalance: the vulnerability of living things and the sometimes violent, sometimes pleasurable, almost always complex consequences that occur when bodies and objects in the world come into contact with one another. I use ornamentation, obsessive mark-making, and decorative imagery as a kind of devotional or transformational act, a way to render interior spaces and intense psychological experiences physically.”

 

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Elle Muliarchyk’s Psychics/Dossier

Stills from New York photographer and film maker Elle Muliarchyk‘s new film project. She dressed up model Meghan Collinson in ten different disguises and sent her to different New York based psychics, filming the interactions with hidden cameras. Each costume resulted in a different fortune. The stills are more reminiscent of a beautifully styled period film than hidden camera surveillance.

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Shu Yong’s Creates The Worlds Weirdest Waterfall Out Of Toilets, Sinks And Urinals

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Shu Yong

Shu Yong

Chinese artist Shu Yong created an atypical waterfall using upwards of 10,000 recycled toilets, sinks and urinals.  The project took two months for Shu Young and his team to complete and covers a wall 100 meters long and 5 meters high.  Originally designed for the Foshan Pottery and Porcelain Festival, a porcelain product tradeshow, the piece is now installed as a permanent piece of public art.  Each toilet was connected to a tap so that they could be flushed—the point being to give a viewer an idea of just how much water is used in a city as large as Foshan.

Shu Yong typically works in many mediums, ranging from painting, photography, sculpture and performance, always interested in “bubbles.”  For Shu, bubbles are not just a symbol, they’re also a concept.  Shu says, “I use various methods to deduce bubble, making it a totem in both conception and form.”  Alongside the Toilet Waterfall Shu installed one of his “Bubble Women,” a sculpture of ballooning women’s breasts.  A seemingly unusual pairing, Shu uses the Bubble Women as a reflection of the motivations and interests of modern day society.  Juxtaposing the two works makes for a bizarre, yet strangely effective, commentary on contemporary culture.  Shu believes in using such provocative work to address cultural mythology, politics and contemporary anxiety in China, or as he calls it, “his laboratory.”  (via amusingplanet)

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Interview: Kim Dorland

Kim Dorland is a Toronto based painter who examines the psychic, nostalgic spaces of his upbringing in Canada through sumptuous impasto layers. At once playfully calling attention to their own physicality, as well as the nostalgia of Dorland’s personal narratives, the paintings are at once visceral and expansive. Beautiful/Decay recently interviewed Kim about his artistic inspirations, painting technique and more. Full interview and images after the jump!

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Tsuyoshi Tane’s Shimmering And Immersive Installation Using 80,000 Watch Parts

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As part of Milan Design Week 2014, Citizen teamed up with Paris-based architect Tsuyoshi Tane (DGT) to create “LIGHT is TIME,” an immersive installation of 80,000 watch base plates. The result is a shimmering space, golden and ethereal, delicate and glowing.

“We envision a space-orchestration where light will fill the space, composing, through sound and vision, a sense of light and time never experienced by humanity before. In this exhibition, we have created a space of light and excavated within it three primary volumes to exhibit everything from CITIZEN’s first pocket watch as the company’s origin, through to the latest satellite watches.”Suspended from the ceiling, the golden watch base plates, the basic component of watches, are reminiscent of droplets of suspended rain. The sense of suspended animation conveys the idea of time and timelessness. It’s when time stops that you become most conscious of it.

“LIGHT is TIME” won “Best Entertaining” and “Best Sound” in the Milano Design Award Competition, and was so successful that a reconfigured version was brought to Japan and shown at The Aoyama Spiral in Tokyo.

“Time is light. If there were no light, then there would be no time. In the 20th century mankind digitized time, measured it and continued to economize our time, until eventually we forgot about its relationship with essence of light. Without light we never would have had the wonders of the universe, the richness of our planet or the joy and pleasure of our life.” (Via demilked)

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Delightful GIFs Of Adorable Monsters Capture Childhood’s Fears

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 With his collection of delightful three-dimensional GIFs, the illustrator Dain Fagerholm creates whimsical universes that are both wondrous and terrifying. Filled with monsters reminiscent of Maurice Sendak’s “wild things,” the precious animations exist in a space caught between childhood nightmares and dreams. The artist draws each by hand, and the illusion of three-dimensionally of the work is expressed by a fast-paced alternating between a few images drawn from similar but differing perspectives.

Fagerholm’s lovely work is infused with a playful sense of anxiety; his characters, both human and otherwise, curl on the ground of tightly enclosed spaces like affrighted children. Wide-eyed and appearing to move manically back and forth, they hold their knees close to their chest. In these strange, surreal narratives, we are invited to feel the claustrophobia of a time out, recalling the lonesomeness and isolation of being bound to our rooms. One girl seems to be trapped within a TV screen, seemingly sucked into a blue, static-filled haze by her own imagination, peering curiously and excitedly outward.

These sweet, solitary creatures play and daydream in a dark state of nighttime unease. A seven-headed dragon evokes images of the beast from the biblical text Revelations, recalling (in an unexpectedly adorable way) frightful notions of eternity and punishment. As if pulled from films like The Shining or Poltergeist, Fagerholm’s characters transcend the real world, reaching instead for a chaotic, nervous aesthetic. With eyes dazed like hypnotic spirals, these little monsters seem to wait impatiently for sunrise and open air, for someone to keep them company. (via Demilked)

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Agostino Arrivabene’s Delicately Disturbing Paintings Invite You Into The Darkness Of Another World

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Agostino Arrivabene paints dreamlike visions of pain and beauty. With tentacle-like flowers growing from ethereal faces and branches reminiscent of veins encompassing bodies portrayed as saints, his paintings exist on their own plane of reality. It is almost as if they come from a time where time itself is non existent, as they seem to be simultaneously prehistoric and futuristic. His figures are almost treated in a pathological sense, yet are delicately sentimental, creating an innate sense of wonder.

His body of work aims to mimic “a room of curiosities” — referring to a collection of exotic memorabilia gathered by travelers. However, his collection is a metaphorical culmination of the excursions he has taken internally; he relates his process to that of the journey of Dante through hell. He is an artist that mainly lives in solitude, allowing him to fully immerse himself in his own bizarre world, drawing inspiration from his own dreams and the dark nature he surrounds himself in.

His extremely introverted and contemplative practice is heavily influenced by old masters. Using traditional methods such as grinding his own pigment, making his own paint, and using a near-extinct technique that combines egg tempera with oil, he allows himself to fully utilize the complexity of color. In doing so, he interjects himself somewhere in the middle of, or perhaps, within various aspects of, the history of painting.

Agostino Arrivabene transcends art history not only through technique, but also through content. His work winks at artists from multiple eras of time. There are strong connections to Italian Renaissance painters such as Sandro Botticelli, Symbolist painters such as Odilon Redon, Visionary painters such as Gustave Moreau, and the psychological darkness similar to the work of Francis Bacon.

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The Incredible Decaying Remains Of The Soviet Space Shuttle Program

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A most fascinating thing has been found in Kazakhstan, Russia, by urban explorer Ralph Mirebs: the decaying shell of a space shuttle. The long-abandoned air craft was a part of a project called the Buran program. Launched in 1974 as part of the on-going international space race, this pet project of the Soviet Union was one of the largest and most expensive space exploration programs.

‘Buran’ is Russian for ‘snowstorm’ or ‘blizzard’ and a few prototypes of the shuttle were built (from plans stolen from NASA), but only one actually flew. Tens of millions of dollars were invested in this particular program, so it is such a shame to find the shuttle in such a demolished and forgotten state. Mirebs discovered this particular air craft in an old hangar that is still used by Russia today. It is located on a site called the Baikonur Cosmodrome, and is a launch pad for shuttles to reach the International Space Station.

This hangar is gigantic – at 433 feet long and 203 feet high, it has massive sliding doors on either end to let the shuttles out. Containing heavy duty cranes that can lift up to 400 tons, the building in itself is an incredible sight. Full of peeling paint, rusting beams and steel that can withstand shock waves from an explosion, the hangar is a piece of architecture that should be preserved.

Hopefully along with the publication of Mirebs’ photographs of this incredible discovery, someone will realize these historical artifacts need to be restored or at least protected from further decay and damage. Be sure to check out the amazing footage of the one and only shuttle launch in 1988 after the jump. (Via Bored Panda)

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