The miniature people inhabiting the fine art photographs of Christopher Boffoli live in a world of enormous food. A place where towering ice cream cones are turned into camping tents, where a field of peppercorns becomes a soccer match, and a savage crawfish threatens a group of men. The photos are as absurd as they are delightful. Based in Seattle, Boffoli says his work comments not only on our fascination with miniature things, but on “the American enthusiasm for excess, especially in the realm of food.” To view more of his photos you can simply scroll through his website, and to see them in person you can check out his Edible Worlds exhibition at Winston Wächter Fine Art in New York through August 24th. All images courtesy the artist.
Artist Maisie Broadhead graduated the Royal College of Art in 2009 with a degree in jewelry but has since become known for her fine art photographic parodies where she creates modern interpretations of historical photos. She also has fun ideas about what to do with your extra feet of extension cords, so you know. As part of an exhibition at the National Gallery, Broadhead and filmmaker Jack Cole were commissioned to create this video depicting one of her interpretations of a 19th century photograph shown here:
At the gallery the video will play in close proximity to the actual photograph taken in 1844 titled Lady Elizabeth Eastlake (which bears an uncanny reseblance to actress Kristen Schaal, right?) by Scottish photography duo Hill & Adamson. (via it’s nice that)
This summer French paper artist Mademoiselle Maurice (previously) took her unique style of urban origami installation to the streets of Hong Kong and Vietnam where she created some of the pieces shown here. To be clear, the hexagonal pieces above were created in Paris just prior to her trip to Asia which you can learn more about (plus see many more photos) on her website.
It looks like a potential crackdown on graffiti artists prior to the 2012 Olympics in London didn’t involve the world’s most famous street artist. Two new pieces by Banksy were posted to his website this morning featuring his personal take on the games. I feel the same as Bobby over at The Fox is Black in hoping there’s more to come.
Update: There’s a great article over at The Atlantic Wire about Banksy and the politics of street art during the 2012 Olympic Games.
East Wind from Old Palace. 180 x 360cm. Three panel, buttons, beads, and pins. 2012.
Healing Blossoms. 170 x 826 cm. Buttons, beads, pins on wooden panel.
Empty Me. 210 x 360cm. Buttons, beads, pins. 2010.
Part mural, part sculpture, with elements of tapestry and painting, it’s almost impossible to define the work of Ran Hwang who uses thousands of components including pins, buttons and beads to create these enormous wall-sized images. The works require numerous repetitive motions and Hwang compares her process to a monk achieving zen. Via her artist statement:
I create large icons such as a Buddha or a traditional vase, using materials from the fashion industry. The process of building large installations are time consuming and repetitive and it requires manual effort which provides a form of self-meditation. I hammer thousands of pins into a wall like a monk who, facing the wall, practices Zen.
When viewed head on, what at first looks like typography on top of a simple photograph reveals itself to be well-executed anamorphic typography by Chicago designer Thomas Quinn. The illusion is created using a standard light projector that projects the intended design on an uneven surface which is then carefully painted. From every other angle the work looks skewed and almost illegible, but when you stand at just the right spot everything seems to pop into place. You can see many variations of anamorphism right here on Colossal, and don’t forget the absolute master of the art form, Felice Varini. (via this isn’t happiness)
Artist Gregor Gaida (previously) lives and works in Bremen, Germany. His figurative sculptures often depict aggressive, even violent people engaging with eachother under unknown circumstances, as with this pair of mischievous aluminum boys titled Attaboys. Gaida says that he often bases his figures off of images found in magazines and books.
The found footage is often no more than an impulse that is no longer discernible in the further development of the shape. Analogous to photography, my objects are three-dimensional snapshots. The characters are frozen in movement and often cropped along imaginary image borders. I transport the fragmented character of photos into the third dimension. Simultaneously, when dealing with color and options of shaping, painterly characteristics appear. Thus, the life-sized special interventions are formally attributed to sculpture but are equally part of painterly and photographic categories.
Attaboys appears to be a reinterpretation of another set of sculptures from 2008, Kind und Kreide II, where two similar boys are seen drawing a line with chalk. I don’t know if the artist intends to draw a parallel between the two works, but I’m going to go with it. It leaves me wondering what they’ll be up to in four years from now. If you happen to be in Germany you can see Gaida’s work at PARROTTA Contemporary Art in Stuttgart through August 4th. All imagery courtesy the artist and PARROTTA Gallery. (via anita leocadia)