Churning and frothing just below the old wooden floor of a former movie theater in San Gimignano, Italy, a mysterious vortex of ominous black water seems to perpetually drain into nothingness. The artwork is a new iteration of artist Anish Kapoor's Decension installation that appeared earlier this year in India. The former cinema and theatre space is now the home of Galleria Continua that hosted the exhibition. Kapoor shared about the piece:
All my life I have reflected and worked on the concept that there is more space than can be seen, that there are void spaces, or, as it were, that there is a vaster horizon. The odd thing about removing content, in making space, is that we, as human beings, find it very hard to deal with the absence of content. It’s the horror vacui. This Platonic concept lies at the origin of the myth of the cave, the one from which humans look towards the outside world. But here there is also a kind of Freudian opposite image, that of the back of the cave, which is the dark and empty back of being. Your greatest poet, Dante, also ventured into a place like that. It is the place of the void, which paradoxically is full – of fear, of darkness. Whether you represent it with a mirror or with a dark form, it is always the “back”, the point that attracts my interest and triggers my creativity.
Often one associates origami with sharp and precise folds, miniature works that have a crisp perfection. Origami artist Hoang Tien Quyet shies away from this rigidity, instead folding his small objects with a technique called “wet-folding,” which allows curves to be created instead of the typical straight lines. With this technique Vietnam-based Quyet creates posed animals bounding with personality, their heads tilted and wings ready for flight.
The technique of wet folding was created by the late origami master Akira Yoshizawa, and involves dampening the paper so it easily accepts folds. Wet-folding gives the paper works a more realistic appearance, adds a rounded quality to the origami, and allows it to appear malleable even though the pieces dry into hardened forms. Wet-folding also involves using a thicker paper, as traditional origami paper would easily tear if wet.
Quyet is co-author of two books, “50 hours Origami +” and “VOG2 – origami.vn,” both published by Passion Origami. Quyet’s skill and has lead to him being invited to several international origami conventions, including Germany, France, Italy, and Japan. You can see more images of Quyet’s animals on his Flickr. (via My Modern Met)
Korean artist Do Ho Suh (previously here and here) is interested in how we interact with public space. Directed, shot, and edited by Nils Clauss, “Perfect Home” brings together several exhibitions from 2002-2012 to examine the breadth of Do Ho Suh’s immersive works. Due to the thin nature of the fabric Do Ho Suh often uses to construct his installations, the pieces are extremely difficult to capture without standing directly next to, or within. Perfect Home manages to look at the artist’s work as one might if physically in the space, producing angles that imitate a natural way of absorbing the work.
Clauss allows the audience to at first be alone with Do Ho Suh’s work, examining both minuscule details and the works from afar. At the very end of the film scenes that include others interacting with the work are introduced. These shots give the viewer a sense of how others interact with the space, and force us to share these now public works.
Do Ho Suh was born in 1962 in Seoul, and studied painting at the Rhode Island School of Design and sculpture at Yale University. Do Ho Suh’s work examines the malleability of space, both physically and how it is perceived metaphorically. The artist’s large scale and site-specific instillations often compare the individual to the collective. Do Ho Suh’s work is included in a number of museum collections internationally, and in 2013 was named WSJ Magazine’s Innovator of the Year in Art. Do Ho Suh now splits his work and residence between New York, London, and Seoul.
Earlier this month, photographer Vincent Laforet spent two hours in a helicopter at 6,000 feet above London to capture these surprisingly futuristic aerial views of the sprawling metropolis. The photographer’s approach to image processing and perspective creates electrified cityscapes that look like something right out of a scene from Tron or Blade Runner. But perhaps the most significant aspect of the shots is the attention to color and light. Laforet discusses this a bit on Storehouse:
Big Ben is a wonderful example of the different types of lights and their color temperatures due to the older yellow (sodium vapor) and the green (fluorescent) mixed in with magenta (fluorescent) and white daylight balanced LED lights. I find this to be one of the most fascinating aspects of this AIR project: had we shot it just a few years ago, you’d have see much more monochromatic (mostly yellow) lighting throughout the cities … It would simply not be the same and not nearly as visually appealing.
This new series of London photos is part of an ongoing project and soon-to-be book by called Air, featuring similar aerial photos of Las Vegas, Los Angeles, New York, and San Francisco. Laforet will continue to travel around Europe over the next few weeks with stops in Paris and Berlin. You can see many more photos and read a detailed account of the London photoshoot on Storehouse. The entire Air Series in Europe is sponsored by G-Technology. (via Sploid)
Riding atop a paddle board, artist Sean Yoro (aka Hula), paints murals while floating on the waves, placing his works just above sea level. The murals, all portraits of women, have a hyperrealistic quality that appear as if each is existing just above the tide. Due to the works’ position above the water they reflect perfectly into the waves, the image extending out far from the painted surface.
The NYC-based artist paddles out to paint the murals, balancing his acrylic paint on his board all the while. Hula grew up on the island of Oahu, where he spent most of his days in the ocean. Although he grew up dabbling in graffiti, watercolor, and tattoo art, he didn’t take his work seriously until he began to paint the the human body when he was 21. Hula also uses cracked surfboards as a surface to paint his female portraits, more of which you can see on his Instagram, @the_hula. (via Street Art News)
Pneumàtic was founded by artists OOSS, Iago Buceta, and Mateu Targa for the street art festival Ús Barcelona. The idea behind the cut salvaged tire installations was to create works that tested the traditional uses of architecture, playing with the audience’s understanding of what is just beyond their physical grasp.
The works, which are all placed in linear or circular arrangements, also test the viewer’s association with architecture, giving a playful tactility to the spaces they occupy. Although most of the sculptures look as if they are only decorative, many impede walking paths, forcing one to walk around their blockade or traipse upon their back like a bridge. Each installation appears as if the solid structures the tires are adhered to are malleable, the pieces disappearing and emerging from the ground and walls like they are being slowly sucked in by quick sand. (via designboom)
Glass Seaweed, 2014, Flameworked borosilicate glass, 20″ x 20″ x 20″
American artist Emily Williams draws inspiration from the sea and other aspects of organic life for the creation of her fragile glass sculptures that mimic seaweed, jellyfish, and coral. Each piece begins with a selection of perfectly straight borosilicate glass rods in various diameters which she carefully melts with a glass torch to form patterns similar to veins and branches.
As a child, Williams’ grandmother was a docent at the Smithsonian leading to many artistic and scientific discoveries at a very young age that would deeply influence her decision to pursue an artistic career. She went on to receive her MFA in sculpture from Washington University in St. Louis and a BFA in sculpture from V.C.U. in Richmond. She is currently working on an impressive glass coral piece shown in the video below (and discussed in this blog post), and you can see more views of her work both on Facebook and in her portfolio.
Glass Seaweed, detail
Glass Coral Skeleton, 2013, Flameworked borosilicate glass, 20″ x 22″ x 10″
Coral Skeleton, detail
Glass Nest, 2013, Flameworked borosilicate glass, 15″ x 20″ x 20″
Glass Jellyfish, 2013, Flameworked borosilicate glass, 15″ x 14″ x 14″
Glass Petal, 2013, Flameworked borosilicate glass, 15″ x 12″ x 4″
Burst, 2013, Flameworked borosilicate glass, 12″ x 10″ x 10″