The intricate work of Nahoko Kojima is created from single painstakingly cut sheets of paper. For example, her newest sculpture, Byaku, is cut from a single giant sheet of Japanese washi paper. Using a simple X-Acto knife like scalpel Kojima tirelessly works to pull the image out of the paper. In order to maintain precision, she is said to change her blades about once every three minutes. Kojima’s multilayered work also inhabitants a playful space between 2D and 3D. At times her work is framed like a painting while other times presented like a sculpture. [via]
The paper cut pieces of Wendy Wallin Malinow reveal the deeper goings-on of animals. Malinow’s pieces are cut to expose an x-ray type view of various forest and ocean animals. In addition to the bone structure, a meal is visible inside each animal. While playful, there is also a sad quality to her work. Malinow’s work reveals the nourishment and effort to needed to survive as well as the violence at times inherent in that. A squirrel has ingested some acorn’s while a wolf seems to be filled with the ghost of a red riding hood.
The two artist collective known as Nerhol is made up of Yoshihisa Tanaka and Ryuta Iiada. Their work focuses on pulling two dimensional work into the three dimensional realm. These portraits, rather than a single image, are actually piles of photographs. The subjects were asked to sit still for three minutes while a camera took photo after photo. The photographs were then stacked and cut to reveal the numerous layers of portraits. This layering effect reveals the subtle movements of each subject as if it were slowly warping a single image. [via]
When Isaac Tobin is not working as a senior designer for University of Chicago Press or playing with type design, then he is whipping up some pretty phenomenal collages with minimal resources. Each piece remind us that cutting back and holding the line is just as important as drawing it. His seemingly simple use of familiar and found paper products matched with sporadic vintage text and condensed doodling presents an accessible everyday charm that inspires affordable creativity. Read More >
Yuko Takada Keller creates detailed and intricate sculptures out of paper. Since 1996, she has been using small triangular pieces to create her designs, which she says “symbolizes something like a molecule.” Her work is inspired by dreams she’s had, and her delicate, cascading designs resonate with ethereality. She claims her work has also evolved over time since she’s realized the connection between the thin delicacy of the paper and skin membranes. From her website,
“Tracing paper has a transparency and an untransparency.
I’m interested in how tracing paper is like a skin membrane.
The skin membrane lies between dream and reality.
The skin membrane lies between consciousness and behavior.
The skin membrane is there when life is born.
The skin membrane is part of a human being.
I want to represent the space that people are aware of
The skin membrane is unconsciousness.”
Russian graphic designer and artist Yulia Brodskaya draws with paper instead of on it. Her highly detailed pieces are constructed of rolled, folded, and carefully placed strips of color paper. The intricate curls of paper are intriguing in themselves while creating a larger image – it took me a moment to realize what I saw in the top image. Brodskaya’s process and style has garnered her some serious attention. Her long client list includes companies such as Starbucks, Anthropologie, Penguin Press, and HOW Magazine. [via]
The installations of Carly Fisher may at first appear to be trash strewn galleries. However, closer inspection reveals that none of the items are actual garbage. Rather, Fisher carefully recreates litter from little more than paper and glue. The meticulous attention she gives to sculpting trash replicas, so to say, may seem odd. However, the familiar international name brands dotting the gallery floor raise the question: do these corporations possibly give the same meticulous attention to the branding of litter as Fischer? As one of her gallery statements puts it, “Perhaps there is a marketing edge to trash?”
At first glance the work of Vincent Tomczyk appears to be normal ready-made objects. However, each piece is carefully constructed almost entirely from different types of paper. Yeah, paper. You can’t sit on these chairs or slip into those shorts without ripping it. In a way, this seems to be Tomczyk’s intention. Tomczyk and his viewers investigate these objects by painstakingly rebuilding them without their utilitarian properties. He says:
“Although my work can be categorized as realism, my intention is to distill the emotion of an object, then through expression, reconstruct it into my view of its essential self – free of function.” [via]