No, we’re not staring down the eyes of our new insect overlords, but you could certainly be forgiven for thinking so. Instead this is the latest artwork from South Korea-based artist duo Kimchi and Chips (Mimi Son and Elliot Woods) — a piece so thoroughly layered with technology it almost defies description despite being undeniably intriguing to witness. Titled Light Barrier Third Edition, the installation is the third in an ongoing series of works that utilize a vast array of projectors, mirrors, and speakers to present volumetric light forms which materialize in a foggy haze just above the work. From their artist statement:
In this third edition, 8 architectural video projectors are split into 630 sub-projectors using an apparatus of concave mirrors designed by artificial nature. Each mirror and its backing structure are computationally generated to create a group that collaborates to form the single image in the air. By measuring the path of each of the 16,000,000 pixel beams individually, light beams can be calibrated to merge in the haze to draw in the air. 40 channels of audio are then used to build a field of sound which solidifies the projected phenomena in the audience’s senses.
The artists share that over a period of six minutes the piece plays a sequences of images that “employs the motif of the circle to travel through themes of birth, death, and rebirth, helping shift the audience into the new mode of existence.”
A more compact version of Light Barrier was first exhibited in 2014 at the New Media Night Festival, Nikola-Lenivets in Russia. The much larger version of the piece seen here was shown last year in collaboration with the Asia Culture Centre. You can explore many more of Kimchi and Chip’s experiments with light on their website.
Update: Creative Applications just published a great article on Light Barrier.
For the last 184 years, Winsor & Newton has sought to provide generations of artists with some of the finest paints, brushes, graphic markers, and other supplies designed to meet the rigorous needs of creative individuals. It’s a proud heritage founded on innovation, dedication, and the tireless pursuit of perfection.
In its latest venture, Winsor & Newton is reaching out to artists across the globe to offer guidance and crucial artistic insight. Masterclass is a new series of informative video tutorials for those seeking to improve their techniques and stretch their artistic achievements.
Each new video will include explorations of color, technical advice on surfaces and professional input on mediums. Masterclass promises to reveal the science behind artist’s materials and demonstrate how best to use them. Each topic is carefully deconstructed to allow artists to understand the ‘why and how’ of the materials they use.
This exclusive new series is available free by subscription through Winsor & Newton’s website. With numerous topics in the pipeline, Masterclass is set to become a vital knowledge-base for professional artists and those seeking to perfect their creative practice. Subscribe now and start learning.
Artist Noel Badges Pugh (previously) creates studies of his own hands mixed with drawings of flowers and bees, adding color to the works with both watercolor and India ink. Pugh often photographs these works with the flowers he has drawn layered on top, allowing the viewer to examine how each is drawn to scale. Bees are also a fairly common subject matter in his pieces, and an interest he calls attention to on his site. You can see the field guide of California bees he illustrated on Amazon, and view more of his watercolor and ink drawings on his Tumblr and Instagram.
Artist Jeremy Miranda (previously) paints in a space between worlds: reality and memory, indoor and outdoor, past and present. Ideas and concepts bleed together within his acrylic paintings like the fuzzy edges of a dream, where powerful images exist amongst unexpected locations and backdrops. The New Hampshire-based artist is heavily influenced by his surroundings in the American Northeast, apparent in his depiction of dense woods, crashing waves, and the recurring motif of lush greenhouses—a more literal depiction of his mixing of environments.
Miranda has an upcoming exhibition next month with Michelle Morin at Nahcotta Gallery, and he has a number of works or prints available through Etsy, Nahcotta, and his online shop. (via The Creators Project)
One of the first assignments in a beginning typography course is the creation of visual metaphors, where letterforms are somehow modified or manipulated to represent a word. In this ingenious short film by Greg Condon titled “Disillusionment of 10 Point Font” the metaphor exercise is brought to life with the help of a Smith Corona Galaxie Deluxe typewriter that he used to animate each word. Sound by One Thousand Birds. (via Vimeo Staff Picks)
A girl is seen softly touching the nose of a giant, white horse frozen in mid-air within the Argentinian Pavilion of this year’s Venice Biennale, a large sculptural work by artist Claudia Fontes. The Horse Problem, and the Argentinian Pavilion, are located within the biennale’s Arsenal building, the largest pre-industrial production center of the world. Made long ago from wood, bricks, and iron, the building is one that could have only been built by horse-power, the work highlighting the hidden influences the animal had on the city.
The installation, which also features 400 white rocks scattered around the two central figures, is inspired by 19th-century icons around which Argentina’s national presence was falsely based. Fontes uses these borrowed characters in her present work to examine how nations develop across history, especially in her own country of Argentina.
“By highlighting how the destinies of the human and horse species have been intertwined through exploitation from the very moment that horses were domesticated, The Horse Problem offers in a flash, a way to reinterpret history in a different way, a chance to construct an alternative narrative for our future as species,” said Gabriel Giorgi in his essay for the work’s catalogue.
The Horse Problem is curated by Andrés Duprat, director of the National Museum of Fine Arts of Argentina. You can see Fontes’ work in the 2017 Venice Biennale through November 26, 2017. (via Art Ruby)