Spacey digital photo collages by Iván Sanjuán photo collage.
Spacey digital photo collages by Iván Sanjuán photo collage.
Kamolpan Chotvichai explores the limitations of paper by carefully hand-cutting portraits of herself and rendering an effect of dissolution based on the Buddha’s teaching on anatta (no self). Parts of Chotvichai’s human form appear warped and melted, almost glitchy, as if they are about to disintegrate; the artist’s careful attention to the direction and shape of her cuts produces an elegant illusory effect. Chotvichai explains,
One’s adhering to something can cause the greatest misery in life especially being attached to self-existing. The idea of this self-existing is actually self-formed and leads to variety of emotions. The temper, the mind and the body altogether gradually form the idea of being alive but when putting into consideration, without any substance, it is merely the thought that we think we are existing…The way I create my work is to set consciousness and concentration by slitting and cutting on the portrait of myself which is considered to be the unconditional action of effort and attempt. This action is therefore to destroy and create the emptiness which will lead to the stage of naught.
Chotvichai was born, raised, and educated in Bangkok, where she currently resides. (via my amp goes to 11)
Lava Mae, a nonprofit project that seeks to provide the homeless with access to showers and toilets, commissioned artists and designers to create artsy toilets that were displayed along Market Street in San Francisco on November 21st, during the same week as World Toilet Day, for a project titled “C’mon, Give a Shit.” Though these names are snicker-worthy, this day is a UN recognized event that “aims to break the taboo around toilets and draw attention to the global sanitation challenge.” Through their public art toilet project, Lava Mae seeks to generate awareness about the sanitation problem surrounding the homeless. In May 2014, Lava Mae plans to roll out their first retro-fitted MUNI bus that will provide mobile showers and toilets to the homeless community in San Francisco.
Lava Mae founder Doniece Sandoval says, “We want to deliver dignity. We feel that if you don’t have access to hygiene you lose touch with your humanity.” Acknowledging that the mobile facilities will certainly not end homelessness, Sandoval is hopeful that the project provides a good starting point for addressing the homeless’ lack of access to basic human needs. “We’re creating a model for delivery of service that others can embrace, a forum that works like open source technology,” Sandoval says, “Our designs, our budgets, anything we can help bring to other communities.”
Spooky blobs by SF artist Ryan De La Hoz.
Last night I had the pleasure of seeing Wes Anderson’s newest film Moonrise Kingdom. I usually don’t blog about movies unless they are documentaries but Moonrise Kingdom is nothing short of a masterpiece!
Set on an island off the coast of New England in the summer of 1965, MOONRISE KINGDOM tells the story of two twelve-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore — and the peaceful island community is turned upside down in more ways than anyone can handle. Bruce Willis plays the local sheriff. Edward Norton is a Khaki Scout troop leader. Bill Murray and Frances McDormand portray the young girl’s parents. The cast also includes Tilda Swinton, Jason Schwartzman, and Jared Gilman and Kara Hayward as the boy and girl.
As usual with all of Anderson’s films Moonrise Kingdom not only delivers in plot and superb acting but also features incredible casting, costume, and sets. The film is one hour and thirty four minutes of aesthetic mastery with every square inch of the film is covered in Anderson’s signature vintage chic aesthetic. I can’t recommend this movie more to anyone who enjoys ANYTHING visual. You will walk out of the theater reminded of how magical life is and inspired to push the boundaries of creativity.
According to a famous anecdote, three pioneers of modern art Constantin Brancusi, Marcel Duchamp, and Fernand Leger are said to have visited the 1912 Paris Air Show. Observing a propeller, Brancusi said, “Now that is what I call sculpture!” A hundred years later, Paola Pivi’s How I Roll suggests that the modernist romance with industrial design lives on.
Pivi’s sculpture (made possible by the Public Art Fund) incorporates an entire six-seat plane that has been specially modified, enabling it to rotate through 360 degrees while held aloft on its wing tips. The artist’s transformation allows this Piper Seneca to be seen in an entirely new way. Airborne but flightless, its steady circular movement is mesmerizing. The shift of context from airport runway to New York City plaza is equally dramatic. It creates the striking and surreal experience of a familiar object seen in an unexpected place doing a very unfamiliar thing. Like a child’s dream come to life, How I Roll is typical of the artist’s bold and playful imagination. Watch a video of the sculpture in action after the jump. (via)
This animation by Michael Lomon is sick in the best of ways. Michael describes it as “A ‘slice of life’ drama piece based on my time as ‘chef’ at a certain Nottingham rock pub.Hand painted backgrounds. Other elements hand drawn, scanned and coloured in Flash.”
Caterina Rossato creates 3D layered landscapes out of old postcards. She seeks to evoke both the familiar and the alien, the specific and the general. “I create landscapes made through a collage of other landscapes, combining images in which the sense of recognition of reality slips from one level to another and it is never clearly identified,” Rossato says in an artist’s statement.
“The déjà vu is a psychic phenomenon which is part of the forms of alteration of memories (paramnesie): it consists in the erroneous sensation of having seen an image or of having lived previously an event or a situation that is occurring. Although improperly, it is also called ‘false recognition.'”