French artist Didier Massard creates eye-deceiving miniature dioramas depicting surreal, mystical landscapes. From a first glance, these sets remind of extremely detailed, hyper-realistic paintings or digitally rendered images. The striking effect unfolds after closer examination, when the viewer is exposed to careful layering and thoughtful light arrangements.
Massard explains his inspiration comes from real and imagined places. The limits of real life infuses his imagination to create mythological and romantic scenarios, which he then calls “the completion of an inner imaginary journey”. China, India, the cliffs of Normandy and many other locations have been depicted in Didier’s works.
“There were many places in the world where I’d never gone that I wished to photograph. I realized that they would not at all look like the images I had of them. Reality was different from my imagination. So I started building and photographing in a studio what I had in mind.”
Artist spends months constructing his miniature worlds, thus the collection is only slowly growing in size. Massard started his career as a commercial photographer for fashion and cosmetic companies like Chanel, Hermes and others. After his first series of dioramas, titled “Imaginary Journeys”, his work was acknowledged and now Didier works exclusively on his personal projects. His work is currently on display at Kopeikin Gallery in Los Angeles until August 23.
Casa Tomada is a project of traveling installations started in 2007 by Colombian artist Rafael Gómezbarros in which giant sculptures of ants are fixed in swarms on buildings and structures. Self-described as “urban intervention” by Gómezbarros, the ants have been showcased in locations varying from London to Cuba with a very specific goal in mind: shedding light on immigration, forced displacement, and uprooting through historical points of departure for travelers and immigrants. The 2-foot ants themselves are crafted out of tree branches for legs and two joined skull casts made of fiberglass resin and fabric to make up the torso, making for a particularly morbid, visceral depiction of migrant workers in Latin America who are looked at as nothing more than vermin.
When placed on the facades of government buildings and blank gallery walls alike, the ants give off a chilling sense of foreboding and encroachment. By placing them in swarms, Gómezbarros makes the insects even more strikingly representative of the peasants displaced by war and strife in Gómezbarros’ native Colombia. The giant insects that make up Casa Tomada, which translates to Seized House, are certainly works that are bound to linger with viewers, whether in nightmares or otherwise.
Artists Walter Hugo & Zoniel have created a surreal installation featuring a large-scale glowing jellyfish tank as part of the Liverpool Biennal. Located in the Toxteth district, the piece is installed in the facade of an abandoned garage. Closed during the day, it opens its shutters every evening at 10 pm and is live-streamed to the Gazelli Art House in London.
Unusual project, titled “The Physical Possibility of Inspiring Imagination in the Mind of Somebody Living”, is based on the juxtaposition between the harshness of an old derelict building and the dreamlike flow of these fragile underwater creatures. It aims to inspire local communities by showing that inspiration can happen anywhere at any time.
“We placed the work there so that it could be enjoyed outside of a gallery environment while people are just walking down the street, going to the shop or home. The response that we’ve had from people so far has been overwhelmingly positive. We’ve seen reactions ranging from excitement to disbelief to nonchalance.”
The psychedelic display was opened almost secretly from the public. Artists chose not to promote their project through press and marketing, rather focus on the residents of the area and rely on natural word-of-mouth. What’s more interesting is the link created between Liverpool and London by streaming live footage to the virtual screen at the Gazelli Art House.
The original installation is up until July 24 at 53 High Park Street in Liverpool. Digital versions of the artwork can be purchased here. (via thisiscolossal)
Through the metamorphic conversion of discarded paraphernalia given a second life, art created from materials otherwise destined for a landfill has turned waste into resource. In a conscious reflection of a recycled object’s inherent value as a cultural statement, the fragmented disarray of salvaged goods conjoin as a reflection on the surplus of consumerism. Computer relics and plastic toys from the 1990’s resurface as jarring, three-dimensional works that reestablish a value beyond their initial introduction as cultural commodities. Extending the life of goods long since forgotten, the immortalization of a wastefulness that continues to swell stands as not only a poignant reminder of the ecological decay resulting from our consumption, but the opportunity to revisit and remake otherwise quotidian, superfluous goods.
Working predominately, if not entirely, with upcycled goods, the following artists create stunning installation and sculptural works that are a visual whirlpool of texture, color and line.
A giant red ball has traveled the globe for the past 13 years. Aptly called the RedBall Project, it’s stopped in cities from Paris to Perth and is currently stationed in Rennes, France at the historic Place de la Mairie. It’s there from July 3rd to July 9th as part of the Les Tombées de la Nuit Arts Festival.
The larger-than-life inflatable sphere is currently squeezed into the Opéra de Rennes’ narrow archways and begs for the passersby to interact with it; at 250 pounds and 15 feet tall, it’s hard to miss. Reminiscent of a child’s toy on steroids, it adds a sense of playfulness to the landscape as it’s photographed, touched, and even bounced into.
The creator, Kurt Perschke, explains the idea behind his sculpture:
The urban environment is overbuilt and full of possibilities, and the project is about seeing the sculptural spaces of a city. The humor and charisma of the piece allow it access to the city and invites others into its story. I think it’s essential for public work to do more than be “outdoors” – it needs to live in the public’s imagination. (Via designboom)
Tucked away in the middle of California’s Mojave Desert is a tiny pool whose location is unknown to the public, identifiable only by guarded GPS coordinates. It was imagined by Austrian artist Alfredo Barsuglia, and is technically open to the public. If you want to swim in it, all you need to do is ask the MAK Center for Art and Architecture in West Hollywood about the longitude and latitude points and obtain the special key to open the pool’s cover.
The four-foot by 12-foot body of water is available for 24 hours to any one person or small party, and you must bring a gallon of water per person to replenish the pool. Its minimalist stylings are painted white and stands out against the sandy and arid terrain. Alone in the desert, it’s an oasis for a weary traveler or nomad. Barsuglia calls it Social Pool, and meant for the swimmer to consider the societal ramifications of this outdoor installation. A description of the project reads:
The work embodies the massive socio-economic changes that have taken place in the last forty years. It thus understands itself as the product of an economy in which privacy and immateriality have been fully commodified… For many a consumer, art is expected to operate according to the principles of the service economy rather than following humanist ideals of intellectual or moral stimulus and education.
Whether or not this pool encourages this deep thought or is simply a well-thought gimmick remains to be seen. (Via Huffington Post)
Some works of art look so wonderfully tactile that you’re drawn to want to touch them. Such is the case of Séance by American artist Sheila Hicks. The larger-than-life installation features huge tufts of colorful fabric stacked on top of one another. It was recently presented by Demisch Danant at Design Miami/Basel’s Design at Large Program.
A black-painted curved wall is covered with giant splotches of vibrantly colored wool, linen, and cotton. Crafting them utilized a processes that originates as pure powdered pigment and is later combined with a binding agent that creates a pliable fiber. This process is symbolically thought of as translating color into 3D form which is then repeated again and again for the purpose of Hick’s installation.
The multi-faceted Séance features a suspended column and a “color table” in addition to the things against the wall. A waterfall of individual strands pour from the ceiling onto a stack of blobs below them, carrying a powerful visual. The color table encourages viewers to create color combinations based on their own associations. When they’re done, they can share and trade them with other participants and piece together a unique narrative. (via designboom)
In the digital age and generation of the selfie, a spiraling and often disorienting importance placed on consumerism and commodities permeates even the most remote of regions. Through the billboard jungles and beehive of mass media, images relentlessly promoting youth and sexuality haphazardly depict ideals of femininity. Creating a wormhole of inadequacies, the female form has found itself in a constant tug-of-war in either defending its natural state or scrambling to correct propagated notions of aesthetic shortcomings. As Barbara Kruger famously stated on one of her notorious gelatin silver prints from the 1980’s, “You Are Not Yourself”.