The “illuminati” is at it again! Not really, but you may think so once you see the levitating all seeing eye created by artist Guy W. Bell. He has created a real-life, levitating “Eye of Providence,” featured on the back of the U.S. one dollar bill. Made from slate veneer and distressed brass, the pyramid Bell has created is split in two, with the top half literally levitating, thanks to innovative technology involving two magnets of the same charge. Because of these repelling magnets, the top section of the pyramid not only levitates, but can also spin, giving this “Eye of God” a 360-degree view. This panoramic line of sight can be seen through the eye in the pyramid, which contains a wireless, pinhole camera, giving the phrase “the all seeing eye” a whole new meaning. The eye itself is actually a prosthetic, larger than life eye replica created by ocularist and anaplastologist Michel D. Kackowski.
The Eye of Providence has been referred to as an illuminati or Freemason symbol, and was also commonly used in ancient Egyptian hieroglyphics. This symbol has become such a cult image, it is amazing to see a fairly large scale, levitating, moving sculpture that really does look back at you with its uncanny and familiar eye.
A talented painter, Bell had been interested in this idea of creating this infamous symbol, but had not yet made a sculpture of this technological magnetite. Luckily for Bell, with the help of the Arkansas Regional Innovation Hub, he was able to make his dream a reality. This incredible sculpture can be seen at Bell’s solo exhibition Fourteen Minutes and Forty-Nine Seconds presented by the Thea Foundation in Arkansas. (via The Creators Project)
Artist Takahiro Iwasaki is a master when it comes to constructing elaborate, miniature landscapes. However, these small-scale scenes are not formed from Lego’s, but from much more unlikely and unstable items such as cloth fiber, dust, and human hair. This Japanese artist takes the most miniscule, seemingly insignificant materials and uses them to create something incredibly complex and enchanting. His newest installations, which are part of the series titled Out of Disorder, contain mini-scenes of recognizable landmarks such as Coney Island, ferris wheel and all. Inspired by painted landscapes on Japanese folding screens, Iwasaki comments on his work in relation to its inspiration.
“Just as the artist of the screens did, I would like to revisit a commonplace everyday scene from today’s Japan, and just as the screens embody a smooth flow from one season to the next, I hope to capture, in my work, the graceful transition of a Japanese landscape from past to present.”
Each tree, building, factory, and rollercoaster in Iwasaki’s work are brightly colored and fragile, as many of them are enclosed in a glass case. This glass reveals one of the most captivating elements of the landscapes; the layers of clothing that make up the earth in many of the installations. Each cloth is filled with diverse colors and clashing patterns, revealing a mishmash of layers that resemble section of sediment in the soil. They form the rolling hills and steep slopes that make up the miniature environments. However, not all of the artist’s creations are constructed from recycled cloth, but from toothbrushes, as well. Telephone towers sprout out of Iwasaki’s toothbrush bristles in this strange yet familiar installation. Out of Disorder is on display now at Takahiro Iwasaki’s first solo show Takahiro Iwasaki: In Focus at the Asian Society Museum in New York. (via Spoon & Tamago)
In the depths of East London, artist Lucy Sparrow ambitiously converted an abandoned, rundown store into a majestic, playful and fully functional corner shop. The only catch is that every single object in this store, including the cash register and the functional pricing gun, is made out of felt! Everything has been stitched and created by Sparrow herself out of nothing but felt, thread, and the occasional stuffing. Last year, when The Cornershop was “opened” it was filled to the brim with normal, everyday items that a grocery shop may have in stock, but instead, made of felt. The items included ice cream, cans of soup, Doritos, beer, and even cigarettes, just to name a few. The variety of items that were sold at the store was endless. The best part about this corner shop is that it functioned as a real store. A customer could enter the store, shop, purchase the felt items, and take them home. Sparrow’s felt creations became so popular that she even opened up an online shop where anyone in the world can purchase his or her own soft food and cigarettes.
Each grocery store product looked impressively similar to its real-life counterpart, in spite of being made out of felt, with the exception of Sparrow’s vegetables with eyes, of course. While The Cornershop was opened, it contained over 4,000 soft, plush items. The painstaking task of creating each individual grocery item out of felt and embroidery speaks volumes to the artist’s patience and artistic talent. (via The Jealous Curator)
This past year at Warwick Art Gallery in Queensland, Australia featured a cozy site-specific installation called the Knitchen. As the name suggests, it was a kitchen adorned with knitting (some referred to it as a yarn-bombing). Yarn-covered chairs, sinks, coffee cups, and even a turkey occupied the space from July until August. This endeavor was the result of 50 artists working over the course of seven months. And, it shows. Nearly everything – from a phone cord to the label on a jam jar – is the result of a meticulous attention to detail.
Karina Devine, the Warwick’s gallery director told ABC Southern Queensland that the installation was inspired by an old-fashioned kitchen (hence the phone). “I got a new oven last year, and kept my old oven so I could wrap my oven,” Devine said. “The most exciting part for me was creating the crocheted gas flame, and hand sewing the orange flecks.That gives me a little bit of a kick every time I see it.” (Via Lustik and ABC Southern Queensland)
If you’re local to, or find yourself in New York City during January, head to Times Square to witness artist Sebastian Errazuriz’s site-specific installation. Titled A Pause in the City that Never Sleeps, it’s a black-and-white video featuring the artist slowly yawning multiple times throughout its 11:57PM to midnight timeslot. There isn’t any fancy editing or motion graphics in Errazuriz’s video – it’s just him that dominates approximately 50 electronic billboards that are central to the city’s hustle and bustle.
If you’ve ever visited Times Square, or even just seen pictures of it, you know that it’s a crowded frenzy nearly all times of day. There are hoards of people, bright lights, colors, and jumbo-sized advertisements that are on a continuous loop. Errazuriz’s moment-of-zen video stands in stark contrast to what we’re normally used to seeing. It’s unhurried, hypnotic, and contagious. Visitors might feel the urge to yawn after watching it.
About the project, Errazuiz says, “I hope that the video can offer a brief moment of pause that can remind us of our urgent necessity for free space and time that can allow us to recover a stronger sense of awareness. (…) I am yawning at everything and all of us; we need to wake up.”
Find A Pause in the City that Never Sleeps from 42nd to 47th streets between Broadway and 7th Avenue until January 31. (Via designboom)
In the site-specific installation Anxiety Map, designer Alexia Mosby documents an overactive mind’s anxious thoughts. It’s a personal map, and one that boldly displays the many things that run through your head as you’re leaving your home. Over the course of two flights of stairs, you’re doubting that the stove was turned off or the door was locked. After making your way to the bottom of the steps, you come to the conclusion that you have to go back and check.
Anxiety Map uses stairs, walls, and even railings to transmit her text in black masking tape. At certain angles letters look distorted, and it’s only when you approach them from very specific ways that they appear correct. Otherwise, they are stretched, shortened, and sometimes incomprehensible – not dissimilar to the thoughts in our head.
Scott Hazard ( featured here previously) is a North Carolina-based artist whose torn-paper landscapes engulf an entire gallery space. Titled Silent Geography, it’s currently site-specific installation at Mixed Greens gallery (in collaboration with Projective City) in New York that covers the floor with paper structures and punctuated with masses of text. These areas of words are meant to turn the space into a garden, meaning that it’s a cultivated and enclosed area that’s set apart (but close to) the wilderness.
From a distance, it’s not clear what Hazard’s soft, inviting installation is made from. It’s only upon closer inspection that you see incredible, carefully-torn sheets of paper and small details like block-printed letters. Silent Geography is meant to evoke the feel of nature but speak to those that live in cities. Mixed Greens writes:
Yet here the wilderness is not exactly that of nature but rather the din of flowing information, language, and symbol that surrounds most urban-dwellers on a daily basis. Into this flow Hazard creates a momentary pause, an immersive space of rest in which language is once again ordered and reduced to its simplest designative function.
Silent Georgraphy is on view until January 10, 2015.
Multidisciplinary artist Georgios Cherouvim’s installation titled Debate looks like your average conversation between two political candidates. But, there are some big differences: the figures’ heads are replaced with flashing geometric forms and they talk using unintelligible robot noises (think a series of beep boops). And of course, these aren’t people – they are realistic-looking plastic mannequins that are animated by an Arduino micro-controller with a custom “conversation” – stimulating program.
Cherouvim says that he entered the world of visual arts through computer animation, which explains the complex nature of Debate. The triangular and rectangular “heads” are controlled by an algorithm that changes lights and sounds based on parameters like how long one of them has been talking, if there was any silence, and the last time one was ignored by the other.
In his artist statement, Cherouvim writes:
My work is a visual representation based upon my perspective of social and political issues. I question established ideas of the modern lifestyle and how common social behaviors and ideologies have turned us against our environment and our selves. I want my work to invite the viewer to step back, observe our actions from a different perspective and associate them to the consequences.
“The act never reaches a conclusion and it is performed in a non-deterministic way,” Cherouvim told The Creators Project. “Their language is incomprehensible, causing the viewer to lose interest in the conversation and politics all together.” (Via The Creators Project)