Although the meaning behind these oil paintings by Atsushi Koyama is somewhat ambiguous, it’s easy to appreciate the exactness of his paintbrush that colorfully and elegantly depicts mechanical diagrams mixed with anatomical illustrations. Born in Tokyo, Koyama holds both a BFA in art from Tama Art University and a Bachelor’s degree in mathematics from Tokyo University of Science, so it’s no surprise to see a confluence of both backgrounds in his artwork. You can see more paintings from the last few years over at Frantic Gallery. (via Dark Silence in Suburbia, Hayden’s Magazine)
Artist and designer Eleanor Lutz has a special knack for science illustration. On her blog, Tabletop Whale, she recently shared this great series of admittedly non-scientific charts that deconstruct the wing patterns of birds and insects. After spreading across the web like wildfire the last few days she quickly turned it into a print available through Artsider. (via Kottke)
Unfortunately I know very little about Korean artist Minjeong An (her website is currently down), but these are just a few of her incredibly complex self-portraits illustrated using some kind of information visualization. My guess is she’s using a mix of actual data, or a perceived translation of sensory input along with simply beautiful drawings. You can see a bit more on Prosthetic Knowledge and 50 Watts.
There’s been no shortage of dinosaur related stuff here lately, so why not round it out with this great short clip from Tal Moskovich who uses a Sam Neil voiceover from Jurassic Park to narrate some hilarious animated infographics. I’ve watched this three times and I’m still gigglin’ like piglet.
I can’t get enough of Murilo Melo’s work apparently. These are two additional posters he designed for the World Wildlife Fund that show a dead tree and barren reef with their component wildlife removed and displayed alongside them asking you to imagine these ecosystems without plants and animals. Beautiful.
Conceptual artist Katie Lewis devises elaborate methods of recording data about herself, be it sensations felt by various body parts or other other aspects of life’s minutiae plotted over time using little more than pins, thread and pencil marked dates. The artworks themselves are abstracted from their actual purpose, and only the organic forms representing the accumulation data over time are left. She describes her process as being extremely rigid, involving the creation of strict rules on how data is collected, documented, and eventually transformed into these pseudo-scientific installations.
The work is often organized into grid-like charts and diagrams mimicking science and medicine’s representations of the body as a specimen, visualy displayed for the purpose of gaining knowledge. In this way I create distance from the information and objectify the experience, giving a false sense that the body is accessible and easily understood.