Arist and illustrator Karina Eibatova (previously) just partnered with LUX Cards to create this phenomenal set of playing cards inspired by her bird and feather drawings. The cards will be printed by the United States Playing Card Company on official Bicycle card stock. The deck is called AVES (Latin and Spanish for birds) and is quickly gaining steam over on, yes of course, Kickstarter. Couldn’t back this quick enough.
After two years of preparation and meticulous carving, “Overlook” is an upcoming woodcut print from the minds and hands of Paul Roden and Valerie Lueth of Pittsburgh-based Tugboat Printshop (previously). The duo make some of the most stunning limited edition woodcut prints around, having churned out a number of new pieces since we last checked in including Woodcut Valley, Community, and Desert Island. The final color print of Overlook (above is just the woodblock used for printing) will be 28″ x 46″ and is available for pre-order.
No, these aren’t light vomiting fish, though you would be forgiven for thinking so because that’s exactly what it looks like. What you’re seeing is the defense mechanism of a tiny crustacean called an ostracod, a shrimp-like organism about 1mm in size that some fish accidentally eat while hunting for plankton. When eaten by a translucent cardinalfish, the ostracod immediately releases a bioluminescent chemical in an attempt to illuminate the fish from the inside, making it immediately identifiable to predators. WHAT. Not wanting to be eaten, the cardinalfish immediately spits out the ostracod, resulting in little underwater fish fireworks. What an incredible game of evolutionary cat and mouse. The clip above is from a new show on BBC Two called Super Senses. If you’re in the UK you can watch it online in HD for a few more days. (via For Science Sake)
No matter how many times I stop to consider artworks by Parisian street artist C215 (previously) I’m left wondering just how he pulls it off. The texture, the color, the detail, all executed with stencils and spray paint on any available surface. C215 says that he frequently portrays “things and people that society aims at keeping hidden: homeless people, smokers, street kids, bench lovers for example,” though one of his favorite muses is his daughter Nina who has appeared in numerous portraits over the years. He also sneaks in references to pop culture, most notably one of the best tributes to Robin Williams I’ve seen yet.
Collected here are a number of pieces from the last year or so, you can see more on Flickr and Facebook. A retrospective of his work opens at Opera Gallery in Paris in October.
From the series Landscape Multiple, 2013. Reworked second hand ceramics. Dimensions 52 x 42 x 7 cm. Collection Röhsska Museum, Gothenburg (S)
From the series Landscape Multiple, 2007. Reworked second hand ceramics. Ø 26 cm
From the series Landscape Multiple, 2012. Reworked second hand ceramics. Ø 26 cm
From the series Landscape Multiple, 2009. Reworked second hand ceramics. Ø 33 cm
Helsinki-based artist Caroline Slotte manipulates artwork found on acquired antique ceramics to create layered landscapes and isolated images. One of her most striking bodies of work titled Landscape Multiple involves a process of carving and sanding through stacked dinner plates to create new, unexpected landscapes. From her artist statement:
The reworking of second hand objects play a pivotal role in Caroline Slotte´s practice. She manipulates found materials, primarily ceramic everyday items, so that they take on new meanings. The tensions between the recognizable and the enigmatic, the ordinary and the unexpected are recurring thematic concerns. More recent explorations reveal an expanded interest in material perception and material recognition, teasing out situations where the initial visual identification fails resulting in an unsettling state of material confusion. Demonstrating an engaged sensitivity towards the associations, memories and narratives inherent in the objects, Slotte´s intricate physical interventions allows us to see things we would otherwise not have seen.
In the late 19th century, shortly after the patent of the telephone, the race was on to connect everyone to the phone grid. However, due to technical limitations of the earliest phone lines, every telephone required its own physical line strung between a house or business to a phone exchange where the call was manually connected by a live operator. The somewhat quixotic result of so many individual lines was the construction of elaborate and unsightly towers that carried hundreds to thousands of phone lines through the air.
In Stockholm, Sweden, the central telephone exchange was the Telefontornet, a giant tower designed around 1890 that connected some 5,000 lines which sprawled in every direction across the city. Just by looking at historical photos it’s easy to recognize the absurdity and danger of the whole endeavor, especially during the winter months. Everything that could possibly go wrong did. From high winds to ice storms and fires, the network was extremely vulnerable to the elements. Luckily, phone networks evolved so rapidly that by 1913 the Telefontornet was completely decommissioned in favor of much simpler technology. The remaining shell stood as a landmark until it too caught fire in 1953 and was torn down.