This is kind of flying all over the internet right now, but I couldn’t resist sharing. Artist Rashad Alakbarov from Azerbaijan uses suspended translucent objects and other found materials to create light and shadow paintings on walls. The jaw-dropping light painting above, made with an array of colored airplanes is currently on view at the Fly to Baku exhibition at De Pury Gallery in London through January 29th. (via art wednesday, fasels suppe)
This December, in a surprisingly simple yet ridiculously amazing installation for the Queensland Gallery of Modern Ar, artist Yayoi Kusama constructed a large domestic environment, painting every wall, chair, table, piano, and household decoration a brilliant white, effectively serving as a giant white canvas. Over the course of two weeks, the museum’s smallest visitors were given thousands upon thousands of colored dot stickers and were invited to collaborate in the transformation of the space, turning the house into a vibrantly mottled explosion of color. How great is this? Given the opportunity my son could probably cover the entire piano alone in about fifteen minutes. The installation, entitled The Obliteration Room, is part of Kusama’s Look Now, See Forever exhibition that runs through March 12.
If you liked this you’ll also enjoy Roman Ondak’s Room of Heights and Karina Smigla-Bobinski’s helium-filled kinetic drawing sculpture.
The first four images courtesy Queensland Art Gallery and photographer Mark Sherwood. Additional images from Stuart Addelsee and heybubbles.
Photographer Mark Mawson has published a wonderful series of fourteen new underwater ink photographs entitled Aqueous Fluoreau. The images are stunning not only for their vibrant colors but their almost sculptural appearance. His previous projects from the same family, Aqueous and Aqueous II are also incredible and worth your time. If you liked this, also check out the work of Alberto Seveso. (via behance)
Scientist Mohamed Babu from Mysore, India captured beautiful photos of these translucent ants eating a specially colored liquid sugar. Some of the ants would even move between the food resulting in new color combinations in their stomachs. Read more over on the Daily Mail. (via notcot)
Lucie Thomas and Thibault Zimmermann are the wunderkind designers behind the contemporary design studio Zim and Zou based in Nancy, France. The duo explores a myriad of mediums including paper sculpture, installation, graphic design, illustration, and web design for their clients, landing their work in numerous print publications including Papercraft 2. This latest collection of work entitled Back to Basics is almost a year in the making (and apparently still in progress). Each colorful device is cut meticulously by hand utilizing sustainable paper, and even the smallest “waste” scraps are re-used to form some of the smallest detailed components. These are only a handful of the photos, see many more detailed shots here. Also check out their paper Gameboy from a while back. Sweet!
A captivating and idyllic video shot by Brian Thompson of the Festival of Colors, also known as Holi, at the Sri Sri Radha Krishna Temple in Spanish Fork, Utah. Huge smile on my face. Music by cellist Zoe Keating.
Update: Here another great video of the event. (thnx, hunter)
Some hot cakesplosive action in this new music video for Autoerotique. Directed by Miles Jay & Derek Blais . (via your music today)
What you’re looking is not the result of Photoshop. This incredible collection of photos entitled INFRA from Eastern Congo was shot by 30-year-old photographer Richard Mosse using discontinued Kodak Aerochrome film. Mosse chose this infrared film to intentionally subvert traditional photos taken from the region to help draw attention to an often overlooked conflict.
INFRA; examines the conflict in Eastern Congo using Kodak Aerochrome, a recently discontinued film that was originally developed for military reconnaissance. These extraordinary colors are not the result of Photoshop. The project seeks a new strategy to represent Congo’s intangible conflict. Mosse chose to use this infrared aerial surveillance film out of context in order to explore how photography represents a place like Congo, a place deeply buried beneath its past cultural representations, from Heart of Darkness to Tin Tin. Infrared light is invisible to the human eye, and so the work alludes metaphorically to the conflict’s lack of visibility in our global consciousness, as well as (paradoxically) this endless war’s over-saturation in the mass media. Color infrared film portrays the world in a pink palette which the photographer uses to subvert the ways in which Congo and the African continent are traditionally photographed. He deliberately wishes to break the generic rules in order to question how we see (or don’t see) this war.
(via black harbor — at the time of posting this, the site appears to be down)
