Artist Sean Yoro, also known as Hula (previously), seems to be more comfortable on his paddle board than on ground, placing murals in hard to reach places, like underpasses and the side of a sinking ship. It is these seaside backdrops that he creates his hyperrealistic portraits, images of woman that peek above the water when the tide is just right.
The tide was the original inspiration for his new ship-based piece Ho’i Mai. The piece features a woman with arm outstretched, reaching beyond her position in the water. The piece’s title which translates to “Come Back” alludes both to her longing gesture and the tide that hides and reveals her face and limb. (via Junk Culture)
Billed as the largest free nautical event in the world, Sail Amsterdam is a quinquennial (every five years) gathering of 600+ boats and tall ships that sail in a circuit in the Netherland’s North Sea Canal before mooring in Amsterdam. The 2015 event was held just last week and according to the NL Times a record-breaking 2.7 million people arrived to watch the maritime spectable that included at least 50 tall ships and hundreds of smaller watercraft. This aerial photo and a timelapse filmed by Boyd Baptist really captures the enormity of the event. (via Jeroen Apers)
Ann Carrington‘s piece “Galleons and Feathers” is inspired by Wing Wo Wave City, an industrial estate in Zhuijang Province, China which manufactures a massive amount of pearl adornment. The piece is formed in the shape of a 3-mast shop, floating over an opulent sea of brooches, earrings, necklaces and tiaras. The work both contains, and is inspired by, these glistening round objects, and Carrington explains on her website that they highlight “the discrepancy between their perceived status of being timeless status symbols of refined taste and wealth (with exotic overtones) and the often very unromantic reality.”
Carrington studied at Bournville College of Art, Birmingham and The Royal College of Art where she graduated in 1987. Carrington was invited by the United Nations in 2010 to produce artwork that raised awareness of current issues, her first work for them presented at the UN Human Trafficking conference in December 2010. She will have a solo show at The Royal College of Art in October 2016. (via Supersonic and Lustik)
The Key in the Hand, 2015, red wool, old boats, old keys. All photos by Sunhi Mang.
The 2015 Venice Art Biennale is home to Chiharu Shiota‘s ‘The Key in the Hand,’ an elaborate entanglement of red wool and keys that dangle above two ancient looking boats. Living within the biennale’s Japan pavilion, the installation nearly blocks out the ceiling with its mass of crossing strings, and includes a collection of more than 50,000 keys.
The piece points towards memory through its composition of materials as the keys were collected from thousands of people around the world. Each key holds memories of the individual through their previous daily use, and now hangs amongst the many other memory-tied talismans above the heads of passing visitors. “Keys are familiar and very valuable things that protect important people and spaces in our lives,” said Shiota. “They also inspire us to open the door to unknown worlds… I would like to use keys provided by the general public that are imbued with various recollections and memories that have accumulated over a long period of daily use.”
The Japanese performance and installation artist often employs the use of everyday objects like beds, windows, and shoes within her work to explore the relationship between living and dying and to access memories found within these objects. Often Shiota’s installations fill an entire room, yet hold a delicate and poetic composition. Recent solo exhibitions include “Follow the Line” at the Japan Foundation in Cologne, Germany, “Chiharu Shiota: Works on Paper” at Hadrien de Montferrand Gallery in Beijing, China, and “Seven Dresses” at Stadtgalerie Saarbrücken in Saarbrücken. Shiota was born in 1972 in Osaka, and has been living and working in Berlin for the past two decades. (via designboom)
Polish painter Justyna Kopania depicts melancholy seascapes and towering ships obscured by mist with liberal applications of oil paint. Crashing waves are depicted with splashes of paint, and sails are formed with the stroke of a palette knife. You can see more over on Saatchi Art and Facebook. (via MEERESSTILLE)
Romania-based architecture collective visualSKIN arrived at the Amsterdam Light Festival with a splash this year, installing a three-dimensional projection of a 17-century ship against a backdrop of water. Titled ‘Ghost Ship,‘ the installation makes use of two intersecting images projected onto perpendicular curtains of water that can be viewed from multiple angles. The piece is in reference to a Dutch East India Company ship, The Amsterdam, that was wrecked in a storm during its maiden voyage to Batavia in 1749.
In a fortunate coincidence, and unbeknownst to visualSKIN beforehand, Ghost Ship also rests on the former site of a large water fountain designed by sculptor Albert P. Termote that was removed more than a decade ago. You can see more views of the installation right here. (via Designboom)
Taken recently off the coast of Bali, these surreal photos are the creation of Montreal-based director and photographer Benjamin Von Wong, known for his exceedingly difficult photoshoots. Where it might be more practical to create the complex aspects of these photos digitally, Von Wong took a different path and assembled a team of two models who also happen to be trained freedivers, 7 additional support divers, and obtained special permission to utilize a 50-year-old underwater shipwreck. The entire shoot took place 25 meters below the surface, and because of the extreme conditions and limitations, he relied heavily on natural light to create the final images you see here.
You can watch the video above to see how the photoshoot came together and read more about the process over on his blog. (via PetaPixel, My Modern Met)