A visual insights designer at Nike by day, Gladys Orteza spends her off-hours transforming otherwise dull stock market charts into brilliant landscapes. The dips and rises of companies like Ford, Tesla, Apple, and Disney become rocky gorges and distant city skylines. Prompted by trading practices pre-pandemic, Orteza began to envision buildings and natural features when diving into Robinhood. “I remember sitting on the couch looking at one of my stock charts and nonchalantly saying to my husband that these charts look really pretty and that I should recreate them as mountains on a landscape,” she says. These visualizations soon manifested into vivid, nature-based depictions.
The Hillsboro, Oregon-based artist, who’s been sharing her landscapes on Instagram, tells Colossal that much of her inspiration comes from living in the Pacific Northwest. “One day we were driving through farmland during a sunset, and the colors of the sky was so breathtaking I had to start drawing. I then got inspired by a few old trucks that were parked on people’s properties,” she says. That experience resulted in the pastel landscape created utilizing Ford’s chart (shown below) that has a vintage vehicle driving through the foreground.
Orteza also contradicts any notion that stocks and data are impersonal by adding important pieces of herself into each artwork. The moon radiating in the background of every piece represents her daughter named Lyanna Luna, and if you look closely at the nearby bird, you’ll see the creature actually is comprised of the artist’s signature.
To be clear, Orteza doesn’t expect her mountainous scenes or starry nights to influence trading decisions. “It’s not intended to help the viewer make any business decisions or give any technical analysis. It’s visual storytelling. It’s art,” she says. (via Kottke)
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In a Celebratory Series, Photographer Toby Coulson Documents the Eccentric Fashions of Designer Oumou Sy
When photographer Toby Coulson met iconic Senegalese fashion designer Oumou Sy in Dakar, they decided to photograph some of her most distinctive garments. “The city has an amazing energy especially as the sun goes down. I thought it would be an amazing accompaniment to Oumou Sy’s theatrical and outlandish couture pieces,” Coulson shares with Colossal. Together, they observed the area for a few days to chose spots and time the sunlight.
The result is a captivating series of photographs, which were originally published in Document Journal, that captures the myriad textures and patterns of Sy’s unorthodox designs: A woven accessory envelops a model, lining her arms, head, and torso in circular sculptural forms. Created as a tribute to Issa Samb—a Senegalese painter, sculptor, performance artist, playwright, and poet—the patchwork-style jacket is so large that the wearer appears to be balancing on stilts as he towers above rooftops. While focused on the garments, each photograph also frames the beige architecture and sandy streets of Dakar.
Sy finds inspiration everywhere, opting to see creativity in all aspects of life and to communicate her ideas through the mundane. She explains in an interview:
I take what I can and make it my own. I enjoy working with different materials, things that surround me, that I come across in my everyday life. I’m a self-proclaimed hunter and gatherer of things; I look for natural elements to work with [such] as plants, herbs, barks, and natural dyes, using either traditional or modern techniques. I choose a material and look for a way to highlight it. I’ve never learned to read and write, and so my fashion is the most important vessel for the expression of my creativity.
The designer’s penchant for bold, dramatic fashion is informed by Senegalese culture, which prizes style and clothing as a mode of expression, beauty, and power. Coulson’s photographs translate those traditions and values through visual documentation. “It was very fulfilling to do a fashion shoot that wasn’t about selling the latest clothes and more about celebrating the work and influence on Senegalese culture of Oumou Sy,” he notes.
To follow Coulson’s photographs capturing the lives of people around the world, head to Instagram.
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Modern architectural building methods and Indigenous materials converge in the latest endeavor by Ronald Rael and Virginia San Fratello, titled “Casa Covida.” The earthen structure is part of a MUD Frontiers/Zoquetes Fronterizos that centers on Pueblo de Los Ángeles and the ways technological advances can work in unison with historic mud-based designs. “Casa Covida” contains a bathing pool, sleeping areas, and fireplace seats for two.
To create the three-room home, the duo employs a custom, portable robot that they transport to various sites, allowing them to dig soil and other materials and immediately shape it into the necessary structures. Utilizing clay and mud, the building process is informed by the practices of Ancestral Pueblo peoples and Indo-Hispano cultures of northern New Mexico and southern Colorado. When wet, the natural materials are layered in zigzag-like coils. The undulating, textured facades generally are made with a few rows to provide insulation from the nighttime cold.
MUD Frontiers was a recent recipient of a 2020 Art + Technology grant from LACMA. It strives to consider “traditional clay craft at the scale of architecture and pottery. The end goal of this endeavor is to demonstrate that low-cost and low-labor construction that is accessible, economical, and safe is possible,” a statement says.
Based in La Florida, Colorado, and Oakland, respectively, Rael and San Fratello are known for subversive projects at the intersection of art and architecture, like the neon pink teetertotters slotted through the U.S.-Mexico border wall. Follow their latest sustainable works on Instagram. (via Hyperallergic)
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Throughout the early 19th century, naturalist, illustrator, and mineralogist James Sowerby published 718 color renderings of minerals, which he accompanied with their characteristics, classifications, and other names. A Chicago-based designer recently reproduced those centuries-old illustrations in an expansive interactive arrangement. Nicholas Rougeux (previously) color-coded Sowerby’s depictions—a tedious process that required the designer to restore each mineral to its original hue and took four months to complete—from two compendia, British Mineralogy and Exotic Mineralogy, which were published between 1802 and 1817. The result is a magnifiable exhibit that captures the incredible diversity and detail of Sowerby’s geological studies.
Check out the eye-catching display on Rougeux’s site, and for those who want a physical copy categorizing the diverse materials, the designer is selling posters, too. Keep up with his contemporary approaches to historical scholarship on Twitter, Behance, and Instagram. (via Kottke)
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Recent reports estimate that the world produced 53.6 million metric tons of electronic waste last year alone, a record high that’s expected only to rise. In an effort to prevent digging up precious materials like gold, silver, and aluminum just to return them to the ground later on as trash, the sustainable fashion brand Vollebak has introduced Garbage Watch.
As its name suggests, the upcycled timepiece is constructed with old motherboards, microchips, and computer parts, utilizing bright electrical cords as the strap with an open face and exposed mechanisms. “We’ve taken an ‘inside-out’ design approach with the Garbage Watch, making the functional inner workings highly visible,” said Vollebak co-founder Nick Tidball in a statement to Inhabitat. “Our aim was to reframe an often invisible and hazardous end of the supply chain, and make people think deeply about the impact of treating their wearables in a disposable manner.”
An undertaking in partnership with the Wallpaper* Re-Made project, the timepiece officially launches in 2021, although a waitlist is currently open. Until then, find more of Vollebak’s sustainable designs on Instagram.
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Centered on the letter “S,” an anachronistic print from Seb Lester (previously) blends hundreds of symbols into one embellished form. Rendered in metallic on black paper, the typographic piece captures an incredibly long timeline, from prehistory to the Dark Ages to the Renaissance to present day. Look closely and you’ll spot snippets of cave paintings, Egyptian hieroglyphics, emojis, and modern logos.
Based in Lewes, England, the artist and calligrapher channeled the heavily detailed marginalia and flourishes of illuminated manuscripts. “I have spent two decades studying the most beautiful examples of intricate letterform and ornamental design I can find. This letter ‘S’ is arguably the most intricate letterform that has ever been drawn,” he shares with Colossal.
Lester released a limited run of 150 gold screenprints, which currently are available in his shop. Check out the video below to see all of the piece’s gleaming intricacies, and follow the artist on Instagram to keep up with his latest releases.
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Editor's Picks: Design
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