Like its real-life counterpart, this coral reef is alive in a way. Organized by the LA based non-profit organization, Institute for Figuring, the reef was lovingly constructed by many hands. According to the Institute for Figuring, the institute is “an organization dedicated to the poetic and aesthetic dimensions of science, mathematics and engineering”, and certainly does this with its Crochet Coral Reef.
The public is invited to participate by crocheting different organisms that are added to the larger crochet habitat. The reef has grown to become one of the largest participatory science and art projects in the world. It does much more than organize a community to engage with visual art and craft. It brings attention to the biology of coral reefs, emphasizes their importance, and reminds us of the danger they’re currently in.
The work of artist Joanie Lemercier resembles Tron type imagery that has come to life. This piece’s materials, however, are really rather simple: paper and light. Lemercier folds paper into variously sized pyramids which are then arranged as a composition on the wall. The composition is visually mapped and a light projection is layered onto the installation. The result is a futuristic glowing geometric pattern. Lemercier is a member of AntiVJ – a “visual label”, a collective of artists that focus on light and perception in regards to art. If you enjoy the work of Joanie Lemercier, check out the work of fellow member Olivier Ratsi.
These are much more than simple balloon animals. Jason Hackenwerth‘s creations float like giant swimming organisms. His newest creature, Pisces, which recently debuted at the Edinburgh International Science festival is particularly massive. Pisces is built of thousands of balloons blown up and tied together. It took three of members of the festival six days to blow up all of the balloons for the 40 foot structure. The piece now hangs in the Grand Gallery of the National Museum of Scotland through April 14, 2013.
The sculptures of Naoko Ito are elegant in their simplicity. Indeed, these pieces are entirely constructed of only two materials: a tree and jars. A limb of a tree is cut into several segments and each segment, in turn, is placed in a jar. Naoko carefully arranges the jarred pieces to reconstruct the shape of the limb. A subdued commentary on the relationship between humans and nature, the imagery is immediate all the same. Though the shape and size of the tree limb is intact, the jarred branches are nearly gloomy.
These aren’t photos of bisected buildings. Rather, they’re the carefully constructed dioramas of artist Marc Giai-Miniet. His little libraries inhabit multi-storied buildings, perfectly suitable for us bookish nerds. However, many of his pieces almost seem to be hiding something sinister. The floors become darker, dirtier, more utilitarian the deeper they are in the building. Soot stained boiler rooms occupy the basement floors along with objects long forgotten. Perhaps the entire structure is a metaphor for the mind in a way: the diligent ego among the book lined floors and the unconscious hidden down in the dingy cellar.
Under the typical gallery bright lights these sculptures from artist Diet Wiegman may seem like innocuous piles of trash. However, these ‘piles’ are meticulously arranged and precisely lit. The resulting shadows resemble famous works of art, icons, and images. He creates coveted works of art through refuse in something as elusive as a shadow. Though various types of ‘light sculptures’ have made their way through art in the past few years, Wiegman is a veteran. He has been using shadows and light as a medium for nearly five decades. [via]
Aron Demetz‘ newest work shows him to be extremely adept at sculpting in wood. His figures seem stand atop stumps, perfectly carved from tree trunks. However, their sanded smooth skin is in stark contrast to parts of their figure that seem mutilated and mangled. While the figures’ faces are peacefully inexpressive, there is an underlying violence to the sculptures. The bare wood of the pedestals hint at the natural world and the sculptures at human’s often turbulent interaction with it. [via]
Andrew Myers‘ uses unique medium to interesting effect. His pieces are built of many carefully placed screws – up to nearly 10,000 in just one piece – inserted to just the right depth. He then uses oils to pain the image on the heads of the screws. Myers accepts the challenges of depicting soft surfaces, movement, and light with a material as hard and utilitarian as screws. The result is an intriguing mix between painting and relief. The screws add to the depth to that typically found in oil painting.