Residents of Rotterdam’s Bospolder-Tussendijken frequently spot bushy-tailed foxes roaming their streets at night, but now, Dutch artist Florentijn Hofman has given the carnivorous animal a permanent home in the area. He recently installed a massive “Bospolder Fox” that peers over a busy intersection in the neighborhood. Spanning 16 meters, the fox holds a pink bag in its mouth, a gesture that anthropomorphizes the wild animal, as Hofman asks, “Has the Bospolder Fox stolen something? Is he clearing up litter? Or has he just returned from a shopping spree on the market?”
While the sculptural installation juxtaposes the natural world and urban landscapes, it also serves as a reminder to residents to be welcoming, although many “have developed a certain fondness for the feral intruders,” the artist said in a statement.
The fox is an interloper, a colorful and gracious nocturnal animal that imparts a romantic twist to this story; and romanticism is a longing familiar to newcomers in the city. The inhabitants of Rotterdam come mostly from elsewhere, and they, like the fox, seek a better life in the city. Rotterdam must, therefore, keep its gates open to nature, to newcomers, and to new perspectives.
Similar to the artist’s previous projects, “Bospolder Fox” was designed to allow children to play in between its paws and serve as a sort of shelter. The animal’s vibrant fur stands out against the gray concrete underneath and nondescript building nearby, further magnifying the disparate qualities of the organic and human-made. “The nocturnal creature on velvet paws does not belong in a neat little park but sneaks through the shadowy crevices of the city,” Hofman said.
This public project is part of the artist’s series of sculptural essays, or artworks that should be read as three-dimensional narratives. Keep an eye out for upcoming installations, like this massive panda, on Instagram. (via designboom)
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The immensity and depth of Mary Sibande’s multi-media artworks reflect the magnitude of her subject matter, which explicitly entwines the enduring effects of British imperialism and the apartheid. Through photographs, sculptures, and sprawling installations that scale floor to ceiling, the South African artist most often features a central Black woman, who is shown enveloped in purple roots or grasping thick, black thread dangling from a nearby portrait.
Named Sophie, the figure’s role is subversive and one that sheds light on the particularly “cruel history of Black female oppression and its implications in contemporary life—in particular, perception and ownership of freedom.” Sophie is dressed in color-specific costumes resembling Victorian-era clothing and often is wrapped in an apron, a garment synonymous with domestic work. Each bold hue is rich with cultural and historical contexts.
(Sophie) is first encountered in the traditional blue uniform of a domestic servant as she dreams of the possibilities denied to her by discrimination and inequality. Sophie is then transformed into a fantastical figure, enveloped in purple representing the bitter struggle against apartheid and the promise of equality. In her most recent incarnation, Sophie wears red, the color of anger, as she gives form to popular disaffection and continued civil unrest across South Africa.
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Artist Sarah Sze explores the myriad conceptions of time and space through a tremendous, new spherical sculpture. Titled “Shorter than the Day” —a reference to Emily Dickinson’s poem “Because I could not stop for Death,” which considers the comfort found in life’s finality—Sze’s piece weighs five tons and was unveiled Thursday at LaGuardia Airport. It is suspended above an atrium in Terminal B.
The New York-based artist captures the magnitude of the upper atmosphere as it changes from bright blue morning to a vibrant sunset to the rich hues of the night through nearly 1,000 photographs of the sky. Each printed image is fastened to the aluminum and steel with alligator clips and is revealed as viewers move around the massive work, just like the earth circles the sun to mark a day. The piece was fabricated in collaboration with Amuneal.
Along with three other projects from artists Jeppe Hein, Laura Owens, Sabine Hornig, “Shorter than the Day” was commissioned by LaGuardia Gateway Partners and Public Art Fund. To find out more about Sze, whose work involves countless individual objects positioned in precise arrangements, watch her TED Talk and visit her site. (via ArtNet)
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For a hypochondriac, any sense of pain or discomfort can be a point of fixation, something specifically known as somatic symptom disorder. This type of obsession inspired paper artist Julie Wilkinson to create a project that would not only distract her from this consuming condition but also bring awareness to an often misunderstood disorder. Her project is aptly titled Manifestation.
Wilkinson told Fubiz that she’s “been hypochondriac for as long as I can remember, and I have always had a fascination with medicine and the psychology related to certain conditions. This project was a way of visualizing the endless cycle that hypochondriacs often find themselves in, where every feeling is magnified, amplified, and where one little ache can turn into multiple symptoms—real or imagined—which take up our thoughts entirely.”
These layered illustrations of anatomical parts in a mandala motif were cut by Wilkinson with none other than a scalpel. The result is a visual expression of somatic symptom disorder—a dizzying array of magnified and multiplied sensations across various interconnected body parts and systems. The mandala is befitting of the meditative and healing nature of the project.
Wilkinson and Joyanne Horscroft make up the transatlantic creative duo behind Makerie Studio. While Wilkinson lives in New York, Horscroft is based in London. Not only are they master paper artists but they’re also set designers, who create imaginative and exquisitely detailed paper sculptures for window displays, events, advertising, and special artistic commissions. They’ve gained the attention of Google, Gucci, Nike, and Victoria’s Secret, to name a few. Wilkinson and Horscroft have developed their own unique paper techniques and are inspired by nature, steampunk mechanicals, and whimsical worlds.
Follow Makerie Studio’s magnificent paper creations and installations on Instagram.
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Montreal-based artist Elisabeth Picard curls, fans, and locks together hundreds of zip-ties into tremendously formed glowing sculptures and undulating installations. The futuristic artworks merge geological and organic elements with science fiction to create abstract formations that the artist likens to “landscapes, minerals, plants, micro-organisms, and sea creatures.”
Picard tells Colossal that since she began working with the nylon links in 2011, she’s used more than 300,000 ties. The artist hand-dyes each piece with pastels, earth tones, and sometimes fluorescent hues that will later glow under UV light and add depth with shadows. Some artworks even are assembled with a lightbox backdrop. Each glowing piece is designed to elucidate the contrast between the original material and the final structures, and numeric art, vector drawing, programming, and 3D printing all guide her research.
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One-hundred five hourglasses dangle from the entranceway ceiling at cSPACE King Edward in Calgary. Every day at both noon and midnight, the sand-filled vessels flip in tandem and reset. They’re part of a 2018 project called “Yesterday, Today, Tomorrow,” a site-specific installation created by artists Lane Shordee, Caitlind r.c. Brown, and Wayne Garrett (previously), that visualizes the intricacies of how we experience collective moments, individual memories, and history.
Each hourglass has a unique correlation to time–half document how hours slip by like a clock, while others reflect more personal relationships to the passing seconds in a series of notes submitted by the public. “Ranging from ‘the time it takes to call mom’ to ‘the time it takes to realize it was just a dream and you are no longer lying next to me,’ you can read the brass tags attached to various hourglasses to understand the increment of time being measured in sand,” the artists tell Colossal.
Every vessel, though, represents a year of the King Edward building, from its construction in 1912 to its transformation to the cSPACE area in 2017. “‘Yesterday, Today, Tomorrow’ uses the hourglass as a symbol of non-linear time–both mortal and immortal–drawing a relationship between the sandstone school’s past, transitional present, and the uncertain future yet to come,” they said. Visualizing the otherwise abstract concept, the suspended project invites people to consider how all moments are interwoven.
For the project, the creative trio ground the sandstone bricks from the original building. They then sifted and measured the substance into the hand-blown glasses that measure zero seconds to four hours. Motors, sensors, microcomputers, and an internal clock using GPS ensures that each vessel flips on time even if there’s a power outage.
To keep up with Shordee, Brown, and cSPACE King Edward, head to Instagram. You also might like Brown and Garrett’s interactive lightbulb sculpture and Carbon Copy, their installation that flipped a car on its front bumper
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