As we move further into the digital age, designers are looking for new ways to offer products that will make even portable devices obsolete. A new product by a company called Cicret is offering a bracelet that will enable the wearer to project the functions of his/her Smartphone onto their arm. Through a simple bracelet design, a series of sensors would pick up a smartphone’s signals and project it onto your wrist. Once projected, it will be fully functional as a phone on your skin. Depending on the amount of memory you choose, social media, email and web surfing functions would all be available in places you’ve never imagined before. Those who opt for more gigabytes could also play video games. It’s Bladerunner convenience with a flick of the wrist. A video on Cicret’s site demonstrated how an arm will now function as an ipad. A scary thought, when taking into consideration the ipad was only invented 5 years ago. The speed technology moves today is lightning fast. The company currently needs 1 million euros to make a prototype. According to a statement, they currently have close to 5,000 donors but it doesn’t mention how much money has actually been raised. If they can pull it off, Cicret has a cool chance of becoming successful, and in the process, put a few of the tech giants out of business. Another issue is cost. Currently, Google glass, a similar product, is selling for $1500. As a young startup and in order to compete, Cicret would have to offer their bracelet at a third of the price. Let the games begin. (via Designfaves)
The best art strives to make visible the invisible, and the body painter Johannes Stoetter takes his work literally, seemingly turning his subjects inside out to reveal internal anatomy; with his vivid colors, he traces anatomical parts that linger below the surface of the skin, visually peeling away layers of his models’ body.
With each work, he digs deeper below the surface, moving from sinewy muscles to organs, and ultimately into the psyche of his subjects. He begins by staying relatively true to human anatomy, depicting detailed tendons and muscles in eye-popping red, yet throughout the series, the artist’s allegiance to science softens, allowing him to paint with more unrealistic, emotionally evocative hues.
Without discernible facial features, his models rely solely upon the apparent tensions of the biceps or the illusion of blood flow to express their identities, opening the door for Stoetter to experiment with non-literal anatomies. The placid woman is painted with the natural world associated iconographically and art historically with her sex, while a male model is shown as having a geometrical machine beneath his flesh.
Each landscape nurtures the perception of the body and heightens its beauty, and the painted bodies cease to be individual and come to represent the coherent, unchanging nature of humankind; in each of us, there ticks the same robot heart, flows the same river of blood. Though nude, the models are desexualized by the obscuring of their flesh, and we are invited to marvel at the organic majesty of anatomy, both physical and emotional. Take a look at Anatomy and more of Stoetter’s astounding work below. (via Lost at E Minor)
I’m a few days late but I should have posted this video by Spy Films for Valentines day. It explores a fleeting moment between two strangers, revealing their brief connection in a hyper real fantasy. Kind of romantical if you ask me. You can also watch the making of the video after the jump!
Stephen Aldrich carefully cuts woodcut prints, steel engravings, and other printed epehemra from the Victorian Age to create these sardonically surreal new vistas of the era. Yes, Garret, I like this because it’s Victorian!
He will be showing his work at NYC’s Foley Gallery from September 9- October 23.
Kenny B. Harris has some awesome posters using mix and digital media. Check it out!
Stefan Kanchev (1915-2001) was a prolific Bulgarian graphic designer who is still famous for his many logos. The marks are all crisp, clever, and immediately effective. A website of his work has recently been assembled by a team of graphic designers and web developers who have taken it upon themselves to dig up his 1000+ logos and other designs. Somebody get this man a Wikipedia entry!
Katharina Fritsch is a German-born artist who transforms quotidian objects or mundane figures into something new. Using manipulation of scale and color along with repetition, Fritsch’s sculptures are usually hand-molded, cast in plaster, reworked, and then cast again in polyester. Her time consuming process creates results that are uncanny and strange.
Interested in psychology and the expectations of visitors to a museum, Fritsch’s work both appeals to the popular imagination, and a more conceptual thought process. One of Fritsch’s most popular works, Rattenkönig/Rat King (1993), a circle of black polyester rats that stand 12 feet tall, was included in the 1999 Venice Biennale. Both funny and frightening at the same time, works such as Rattenkönig/Rat King border on reality and illusion. Much of Fritsch’s work has an unsettling, often religious, association that is deeply psychological. Fritch’s sculptures tug at our deepest fears or most vivid dreams.
Usually pulling imagery from her world, subjects are often otherworldly in appearance, seemingly fantastical, like something out of a dream or a distorted memory. Her more recent installation, Hahn / Cock installed in Trafalgar Square in London is located across from Nelson’s Column. The Column is a monument built to commemorate Admiral Horatio Nelson, who died at the Battle of Trafalgar in 1805. Fritsch’s giant blue rooster is meant to comment on the masculinity and public pomp of the square. Again, funny with its double entendres and absurd appearance, Fritsch’s sculpture is also deeply unnerving. Installed this past July for 18 months there is plenty of opportunity to check out Fritsch’s installation.