Crazy small drawings from Edinburgh-based artist Paul Chiappe. Recreating graphite versions of early 20th century photography, the artist meticulously produces his works within tiny confines. Many of his drawings fall below the 4×4 cm. mark. Looking at the sad faces of our forebears given life by Chiappe’s drawings, you get the sense that they might easily have been forgotten by the world. His efforts celebrate those we’ve lost in a really unique way. Check out more below. (via)
Photographer Dylan DeRose’s Cat Fanciers Association series proves that not only do dog owners look like their pets but cat owners do as well.
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)
Taiwan based Hsiao-Ron Cheng’s work alludes to the deformation that physically separates humans from plants and animals. The environments and situations that she paints are often surrealist in nature nature, reminiscent of her life as a student in school, and partly based on fantasy. Hsiao-Ron’s aim is to create more complex worlds with complicated stories of childlike and cruel creatures, showing the fragility of life.
For her frightening and beautiful portraits, the artist and designer Tamara Muller uses her own face, pasting it atop various haunting figures. Within the context of these crudely drawn bodies, her features, seen over and over again, take on an uncanny, trance-like quality, allowing them to collectively span her entire lifetime from girlhood to the present. Within this expressionistic realm, the barriers between childhood’s innocence and the guilt of adulthood are disturbingly blurred to create a narrative where play and fear work in tandem.
Muller’s faces leap dizzyingly through the ages: baby, child, adult, blurring the lines between male and female in the process. A seemingly incomplete rendering of the bodily form appears to the post-Renaissance eye as primitive or childlike, creating a cognitive and visceral tension with the heavily weighted heads, which are given a disproportionate depth and dimensionality. For this reason, the fleshy, flushed faces seem dangerously precarious, as if they were too psychologically burdened to rest comfortably on a naive and doll-like body.
In a realm where child self and grown self live side-by-side, an uncomfortable eroticism emerges, carrying with it the guilt of innocence lost. In one image, a woman bears her naked breasts, her head taxed with the weight of a baby face robbed of her body. In another disturbing piece, a young girl sits on a rabbit, normally a symbol of fertility and sex, baring her disturbingly youthful genitalia. A woman holds a younger version of herself, and the latter’s body wilts, rag doll like. In these powerful images, it’s unclear who is haunting whom; is the grown self plagued by her childhood, or is it the other way around? Take a look. (via HiFructose)
Okay okay, while I know that 1) Halloween was more than a week ago 2) This video doesn’t look like much, you gotta watch it because some high school teacher really attempted to make math class awesome & also used some really clever video art techniques in the process. WATCH IT!
Max Maslansky is a tricky fellow who seems to believe in longshots. His images caress a romantic past, the voyeuristic present, and a violent future. Each image seems to shake with exerted candor, while holding your hand and telling you things will be okay.
Russian born illustrator Andrey Smirny uses the sharp angles, bright colors, and deceptively flat depiction of spatial relationships found in early NES video games to illustrate the drama and humor of the ongoing exchange between people and their modern technological environments. He was born and raised in the Soviet Union in late 80s, and attributes the sudden flood of easily accessible Western media post-Iron Curtain as moments that have made lasting impacts on his artistic expression and aesthetic. He spent his youth watching bootlegged American B-rated action movies on VHS (“weird John Carpenter movies like Big Trouble in Little China and The Thing”) and exploring similarly illegally obtained Nintendo games like Double Dragon, Battle Toads, and Tanks. He went on to study Fine Art and Graphic Design and fell in love with the DIY comic scene, exploring GIFs as his main medium. Currently he draws on the style and constantly evolving work of self-taught artist Todd James as one of his biggest inspirations, along with the otherworldly ideas of his barber Nikolai and “his addiction to UFO-related YouTube videos and belief that angels truly live on Mars.”