A designer/civil engineer named Saurabha Datta has developed a prototype for a device that can teach you how to draw. The machine aptly named “Teacher”, wraps around your hand and guides it to the perfect line. The project developed for Datta’s thesis at Copenhagen’s Institute Of Interactive Design, first came about when he made a series of devices that guided people through simple tasks such as hitting a few piano keys or drawing a geometrically correct shape. The breakthrough in Datta’s research is taking a concept once thought of as sci-fi fodder and bringing it into reality.
“Teacher” looks similar to the old lie detector tests that would record a person’s pulse rate when asked a series of intimidating questions. It doesn’t say how heavy it is or what the projected weight would be but to be successful it would have to be lightweight. Some of the other projects Datta has worked on include making an interactive car seat that can respond to your insecurities and a program called “moment” which records your feelings at different times of the day.
Machines and computers are known as aids in making our lives easier and less stressful. With this latest development we can witness their evolution as was predicted some 50 years ago in Stanley Kurbrick’s 2001 a space odyssey. Who can forget the calm voiced computer “Hal” who eventually takes over the ship and responds with emotional vengeance against the crew when it learns they were going to “disconnect him.” If they can teach people how to draw what could be next on the horizon? Teaching you how to be a neurosurgeon or a concert pianist? Only time will tell. (via Juxtapoz)
Louisa Chambers is an artist with with a penchant for the edges. Her work is quick and toned. It doesn’t hide in its edges, and seems to root for structure. Every piece wants you to know you’re safe, even if you’re surrounded by sharp points. The ideas are there, and their universe is waiting for you.
Portrait paintings or portrait embroideries? Cayce Zavaglia wants us to wonder and question the technique she is using. ‘About-Face’ is actually a series of embroideries. And they depict exclusively the artist’s close friends and family members. When flipped around, the portraits become abstract art pieces. “an attempt to show both sides…in hopes of initiating a dialogue about the two sides we each possess: the presented and the private self.’
As a former painter Cayce Zavaglia knows the impact of a brushstroke on the canvas and is therefore able to meticulously transfer the effect onto the tapestries. She begins the process by roughly taking a hundred pictures of her futur subject. She wants to catch the right expression. After selecting just one picture she starts working with one-ply embroidery thread on Belgian linen. She is able to render via fabric and thread the intricate details of blended colors and the texture that imitates oil painting.
The artists wants to create a dialogue between the viewer, the subject and herself. From far, the viewer might perceive the hyper-realist portraits as paintings and that’s ok. Up-close, they realize the mean used is embroidery. And by looking at the reverse side of the piece the viewers can begin to connect with the subject. The back of tapestries were historically never shown to the public. Cayce Zavaglia is making an exception. Because abstraction blurs the boundaries between the viewer and the art piece he/she is looking at and that’s when the dialogue begins to become interesting.
Cayce Zavaglia’s work will be displayed at Lyonswier Gallery in New York from November 5th until December 6th 2015. The artist’s daily process is updated on her Instagram account.
Jessica Snow is an artist from San Francisco, California. Her beautiful abstract paintings are vibrant and fluid. Jessica feels that “each of [her] paintings expresses a new possibility, an opening into a new direction where meaning is continually at play and in flux. The most interesting pieces are those in which something has been left unresolved; its reason for being has not been entirely spelled out for the viewer or even for the artist.”
Will Hutnick is a Brooklyn-based artist who works in painting, sculpture and installation. Incorporating acrylic, oil, ink, spray paint, tape and found objects into his work Hutnick creates works on paper that oscillate between being two dimensional and three dimensional. Using conventional materials in unconventional ways Hutnick changes the rules of painting. Using tape as his paint and paint as his sculpture, Hutnick manages to muddy materials while maintaining brilliance in color. Indeed, Hutnick has an amazing eye for color. And he uses it to generate narritive. With titles like, Marble Madness, Not So Secret Garden, and What Do You Call Those Things With The Wooden Beads And The Crazy Tracks?, Hutnick’s explosions of color become stories, emotions and sensations.
There is a fun to Hutnick’s works as well. The paintings are bright and beautiful, but there is a sense of humor to his work. His “balancing works,” involve late night sessions at the studio stacking any found object to the point of instability. Eventually, the ephemeral sculptures topple to the ground. Often, Hutnick was the only one to witness their existence at all.
Menstrual Designer Jen Lewis and Photographer Rob Lewis are redefining body politics in their series Beauty in Blood. Together, they create breathtaking images with an unlikely, and, more often than not, taboo material; menstrual blood. The idea of using her own bodily fluid as a medium came to Jen Lewis after deciding to use a different kind of feminine care product; reusable collecting cup that she would use and then dump its substance into a toilet. She explains that seeing such a bright, red liquid swirl around stark, white porcelain was absolutely stunning. Believing that menstruation is a beautiful, natural part of life that is all too often avoided, the artist decided to capture it in remarkable photographs to open up a dialogue and shed some much needed light on the subject. Jen Lewis explains that this series is not meant to be shocking or vulgar, but exactly the opposite. Her and her partner Rob create each striking image through a process of design, care, and selection.
This series is a celebration of femininity, a look into a healthy part of every woman’s life that we are often taught to be ashamed or embarrassed of. This dynamic duo aims to change the social norm of menstruation being hidden or taboo in society by allowing the viewer to get up close and personal with a natural part of life, not to mention part of the cycle that creates life. Each image claims the true and honest beauty that this significant and momentous part of life deserves. The aesthetic appeal and allure this series holds breaks down the politics of women’s bodies that contemporary society tends to control. Jen Lewis elaborates on this subject. (via FeatureShoot)
“In my experience, women and men are hungry for an authentic dialogue about menstruation and all that encompasses. It is clear the time is now to stand up and speak out on behalf of menstruation. It is a natural, messy but beautiful part of life.”
Beautiful/Decay is proud to present B/D Cover Artist Alumni and talented artist Aaron Nobel’s newest mural and exhibit in Los Angeles. Known for his comic book reconstructions, Aaron’s newest mural in the hip Melrose and Heliotrope intersection of Los Angeles measures at the over 30 x 50 feet!
To celebrate the unveiling of the mural Synchronicity Space (directly across the street from the mural) will be holding a three day exhibition of drawings and paintings by Aaron. The show and mural unveiling kicks off on May 24th from 6-10pm with a set by DJ BlackRainbow and refreshments. Read more about the mural and see an assortment of Aaron’s work after the jump.
Rose-Lynn Fisher – whose anatomical bee photographs we have previously featured – has recently completed a series of images she calls “The Topography of Tears” that represent a study of 100 types of tears photographed through a microscope. During a difficult time that yielded a copious amount of tears, Fisher began to wonder if her grief tears looked the same as onion tears when viewed under a microscope. Using her own and others’ tears, Fisher was able to create a varied landscape of tear structures, demonstrating the diversity to be found within tear types. Fisher’s images almost resemble aerial views, these tear structures fractally resonating with larger scale structures found in the world.
Fisher says, “Tears are the medium of our most primal language in moments as unrelenting as death, as basic as hunger, and as complex as a rite of passage. They are the evidence of our inner life overflowing its boundaries, spilling over into consciousness. Wordless and spontaneous, they release us to the possibility of realignment, reunion, catharsis: shedding tears, shedding old skin. It’s as though each one of our tears carries a microcosm of the collective human experience, like one drop of an ocean.” (via smithsonian mag)