Food art is back from the dead! And you thought that those crazy Fluxus artists from the 60’s were long gone…
Scandinavian artist Camilla Wordie creates textiles out of textures found in our daily eats. Her project is a synthesis of her love for both the culinary world and the arts. Edible textiles extends from Wordie’s other food-related productions (Am I chocolate or not? and Wearing Rice is Nice) which include tableware inspired by grains of rice and tables made of chocolate powder.
Elisa Strozyk is a unconventional textile designer. Instead of fabric, she uses wood to construct rugs, carpets, and blankets. While we often think of wood as rigid surface, her work breaks this convention and transforms it into something much cozier. Elisa’s textile art acts like fabric. They easily conform to a surface and can bunch together, allowing something or someone to be wrapped up in wood.
Each piece is comprised of tiny shapes, variations of triangles and squares. Paired together they make tessellations, or the tiling of shapes to insure there are no gaps between them. Tessellations can be in 2D or in Elisa’s case, 3D. The general idea is that shapes are used to stack and fill space.
These textiles are meant to have us consider a new perspective on material. They challenge our notions of what is possible out of something like wood. Elisa’s textiles can be functional or art object. They can be used as a blanket or on the floor as a rug. But, depending on the design, context, and manipulation of shapes, they can be a sculpture, too.
Elisa gives more insight to her work, writing:
The world around us is becoming increasingly immaterial. We are now used to write emails instead of letters, to pay online, to download music and touch virtual buttons on touch screens. We live in a society of images, a visual culture full of colours, advertisements, television and the internet. There is not much left to feel. Giving importance to surfaces that are desirable to touch can reconnect us with the material world and enhance the emotional value of an object.
“Wooden Textiles” convey a new tactile experience. We are used to experience wood as a hard material; we know the feeling of walking across wooden floors, to touch a wooden tabletop or to feel the bark of a tree. But we usually don’t experience a wooden surface which can be manipulated by touch.
Designer Armin Blasbichler‘s work is often jarring. His series ORSON, I’m Home strikes a special chord, though. The series is composed of three “dining sculptures” created primarily from the bodies of various farm animals. While we may be more accustomed to farm animals adorning plates on the furniture, seeing them as taxidermy furniture makes for a surreal juxtaposition. The furniture confronts its users with the consumption it usually facilitates. Interestingly, for the series Blasbichler features a quote from professor and writer Don Slater: “In talking of modern society as a consumer culture, people are not referring simply to a particular pattern of needs and objects […] but to a culture of consumption.”
Pablo Picasso once said, “every child is an artist, the problem is staying an artist when you grow up.” The owners of Oh’ My Neko take this quote to heart, honoring children as artistic masterminds behind some pretty unique dolls . . . and this goes for everyone, not just a select few, as this would negate the purpose: each young vision is valuable and translatable. For only 35€ each, your child’s hipster princess, lunatic lady monster, or clowny bug can spring to plushy life. Check out the gallery after the jump to see some more pretty adorable examples.
Designer Raphaël Pluvinage has designed an innovative way for you to play two things you were taught not to: food and electricity. His prototype “game” is appropriately named Noisy Jelly. “Players” first mold jelly using various provided molds and colors. The jelly is then placed on a board that is connected to a computer. Touching the jelly produces a fun array of sounds. Different tones are produced depending on the size and shape of the jelly, the salt content of each mold (determined by the color), as well as where and how the jelly is touched. Check out the video to hear the noisy jelly.
“I started as a furniture-maker, but eventually felt limited by conventional notions about what furniture was supposed to look like and how it should be built. I now approach my work fundamentally as sculpture, but likewise have resisted passing over the line into pure or nonfunctional form.” – Michael Coffey
According to Michael Coffey, design is not just about art. It’s also a form of “problem solving.” He sees commissions as creative collaboration– loving most when patrons desire something entirely new, more different than his previous work.
As far as process is concerned, Coffey begins with a small wooden model, then develops a design on paper with set dimensions. First cuts generally begin with the buzz of a chainsaw, followed by the use of smaller, more refined, cutters and discs. Part of the fun is figuring out which tools will service the work best. Click on the video after the jump to see more of his work and philosophy.
Perhaps you may be familiar with your state motto or state bird. However, what about your state amphibian or state grain? America’s fifty states have many official state insignia, some more obscure than others. Artist and designer Julian Montague highlights many of these for all of the states in the union in his new series State of America. While some state insignia may be predictable – Idaho’s official state food is the potato – others are bit stranger such as Georgia’s official state fossil: shark teeth.
From Futura Standard to Helvetica Neue, designer Aleksi Hautamaki refits vintage neon letters, previously destined for the bin, with a touch of LED lighting to resuscitate their glow for another 10 years.
Character, his company, sells each piece to the public, intending to cultivate a “second life cycle” capable of creating “new value for everybody involved.”
Likewise, portrayed here in a series of artful photographs, each previously abandoned bit of font now haunts the city, with a fresh sense of freedom, searching for a new artful context, home, or environment outside its previous life in advertising.