Renowned for its experimental installations and out-of-this-world designs, self-proclaimed “spatial laboratory” Loop.pH crafts site-specific, highly collaborative works all over the world. For their latest piece, Atmeture, the studio has created an illuminated structure that, through the use of vitreous, inflatable membranes and a system of air pumps and circulating smoke, appears to breathe.
Woven from thin fibres comprising a geometric trellis, the structure is cited as “an ephemeral luminous architectural tunnel that draws visitors into an open and animated form woven from lightweight fibres.” As viewers walk through the tunnel, they become surrounded by swirling smoke and ethereal luminescence and are able to interact with the seemingly sentient structure.
Like much of Loop.pH’s pieces, Atmeture was imagined and created as a site-specific piece. Commissioned by onedotzero, a cultural organization praised for “curating and producing memorable and engaging events, exhibitions and experiences,” Atmeture was intended for Letchworth’s ‘Fire & Fright Festival,’ which took place from October 28 through November 5, 2014.
While Atmeture’s glowing presence in the festival has unfortunately come and gone, you can still take a stroll through the otherworldly tunnel with the click of a mouse! Be sure to check out the video for the living, breathing experience. (Via The Creators Project)
Philadelphia based artist Matthew Cox embroiders iconic characters, images and symbols on x-rays, creating moments of satire, dark comedy, and reflection. His work blends the universally known with notions of the seemingly the unknown, forming postmodern mash-ups and hinting at the absurd reality of the human condition. His work takes a chance on being highly referential using playful antics such as titles like “playboy” and “heartthrob” for works that portray faces of silly cartoon characters or ex-presidents. Cox’s work pulls his viewer in by creating fun in forging connection. But beyond the contextual discord, his work also takes on the impression of pastiche via the physical materiality of the work. While the hand craftsmanship of the stitches provokes feelings of comfort, nostalgia, and quaintness, the x-rays provide the opposing sense of sterility, coldness, and discomfort. This sort of push and pull between the ages, various levels of technologies and traditions, as well as reformatting iconographic persons, personas and ideologies, does indeed perfectly outline and reflect what it means to comprehend ones surroundings in the twenty-first century. While living within the age of the internet, where anything and everything can be within our disposal in the moment of desire, time does not seem to distinctly go forward or backward. We have been given the option to chose in which decade we’d like to exist in; we choose our music, our dress, our ideologies, our fantasies, all through a network of access to the past (and perhaps for the real techies the future), no matter how deluded it may be. But it is not just our own obsession with the internet, it is the universal obsession; it is the knowledge that our peers will understand which decade we refer to, and in that universal nod, knowledge and understanding, we are enabled to live timelessly. Matthew Cox has created a clever series of inherently postmodern works, using absurdity to reflect on modern reality. (via artfucksme)
RIP David Bowie, who was a postmodern trailblazer for us all.
Amy Ross, as she herself states, is quite interested in the idea of artists as “mad scientists”. She posts the question, “What would happen if the DNA sequence of a plant or mushroom were spliced with that of an animal?“. As she tries answering this question herself and to the viewers, her latest works titled, “Brother Wolf” addresses just that.
Whether he’s shooting for personal projects or for clients Jean-Yves Lemoigne’s photographs look as if Jean pressed pause during a pivotal scene in the worlds most epic movie so he could take a picture of the scene that was unraveling before him.
It’s not often that I post artwork by kids but the Aidan really struck a chord with me. Aidan is no ordinary 5 year old boy, in fact he is quite extraordinary. What sets him apart from most kids is his love for all things scary. He loves monsters, clowns, drawing, and dressing up. He doesn’t wait for Halloween to roll around to have an excuse to wear a costume. And you better believe while in costume he will break character for nothing. His Drawings are full of attitude and motion, featuring werewolfs, scary clowns, and ghoulish monsters (i.e. my favorite stuff!) We’re probably the first art blog to feature Aidan but don’t be too surprised if we shortly become the first Art publication to feature him as well!
Another thing that makes Aidan different than most children is that on September 13, 2010 he was diagnosed with Acute Lymphoblastic Leukemia (ALL). He was strong and pulled through his first round of chemo all while teasing his nurses and vistors. Although this was a small victory, Aidan unfortunately must go through 2 to 3 more years of chemo treatments and everything that goes along with that.
The Great Jack O’Lantern Blaze touts itself as being the Tri-State’s (New York, New Jersey, and Connecticut) biggest and most exciting Halloween event. Their hubris is deserved; The glowing pumpkins and the elaborate installation of carvings are incredible.
The event features more than 5,000 hand-carved, illuminated jack o’ lanterns, and is set against the backdrop of the historic,18th-century riverside landscape of the Hudson River Valley. All displays are made out of pumpkins, and arranged into the likes of giant sea monsters, dinosaurs, snakes, and shrunken “Little Monsters.” It even features a Tunnel O’ Pumpkin Love. (If you’re wondering how that works, it involves gourd-filled Jack-in-the-Boxes springing up and bouncing around.)
Pumpkin carving has a rich history in the UK. The Instagram blog describes it, writing:
Although only associated with Halloween as we know it today since the late 1800s, the tradition of gourd carving dates back to the 18th and 19th centuries in rural Ireland and England. People created jack o’lanterns for the old holidays of Samhain and All Souls’ Night when spirits were thought to be the most active. Grotesque faces carved into the objects were meant to frighten away any ghouls seeking to do harm.