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.
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.
A few days ago I stumbled onto a 2007 article over on Creative Review about a special exhibit called Global Cities held at Tate. As part of the exhibition Angus Hyland and William Russell from Pentagram designed these brilliant wooden population density mounds that represent Mumbai, London, Mexico City, and Cairo. Via Creative Review:
“The brief was to find a way of representing the mass of statistical information in the Turbine Hall that would engage and invite people to explore it,” says Pentagram’s William Russell, who designed the exhibition with Angus Hyland. “We were trying to approach an audience that’s not necessarily an architectural one. I don’t think it dumbs down the information but makes it understandable and clear.”
Incredibly clear. Not only are they engaging as sculptural pieces but also act as physical infographics, something I’m personally a huge fan of. A huge thanks to Ed Reeve and this Flickr account for providing imagery for the post.
A wonderful illustration by Mike Mitchell that was submitted as a Threadless shirt design. Prints! Prints!