Human hands and machines converge in the meticulous process behind Ibbini Studio’s radial vessels. Collaborating since 2017, Abu Dhabi-based artist Julia Ibbini and computer scientist Stephane Noyer craft intricate sculptures informed by geometric principles and the divide between digital and analog techniques. The multi-faceted, sequential design culminates in Symbio Vessels, an exquisite series of works that wind from base to mouth in an algorithmically defined pattern.
To create the coiled containers, the artists first draw organic structures that mimic botanics and various tessellations before turning them over to custom parametric design software. This program refines and renders the original work in three-dimensions and develops the vessel’s final shape. Once a laser cuts out the individual rings from archival paper or card—watch this meticulous process in the video below—the pair glues the layers together, forming vases that spiral upward. “The final pieces display an idea of contrasts and collaboration,” the studio says. “The flaws which come with the human hand contribute to the beautiful end result.”
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Last week, artist Olafur Eliasson (previously) unveiled a massive, wave-like artwork that mimics the rippled surfaces of the Chicago River and Lake Michigan. Comprised of 1,963 curved tiles, “Atmospheric wave wall” sits between the two bodies of water at Willis Tower and shifts in appearance based on the sunlight, time of year, and position of the viewer. It’s the Danish-Icelandic artist’s first public project, which was curated by CNL Projects and commissioned by EQ Office, in Chicago.
Speckled with orange pieces, the blue-and-green motif is constructed with powder-coated steel and based on Penrose tiling, a design with fivefold symmetry, which fills the undulating border. At night, a light shines through the street-side work, emitting a glow through the tile seams and further altering the appearance of the textured facade. Eliasson says about the work:
Inspired by the unpredictable weather that I witnessed stirring up the surface of Lake Michigan, ‘Atmospheric wave wall’ appears to change according to your position and to the time of day and year. What we see depends on our point of view: understanding this is an important step toward realizing that we can change reality.
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Artificial Blooms: Digital Botanics Showcase the Fractals, Tessellations, and Repetitive Features of the Natural World
From tessellations to spirals and symmetry, the Cologne-based duo behind Shy Studio has been reproducing the mesmerizing patterns of the natural world through a series of lifelike botanics. Artificial Bloom is an ongoing project by Misha Shyukin and Hannes Hummel that features still-life florals and animated clips of petals slowly unfurling.
The digital renderings showcase the complexity of organic structures while also highlighting the fractals and endless intricacies inherent to nature’s designs. “We are only two artists, and when one of us had some spare time, we would pick a flower or plant from our Pinterest board as a base and start developing our own artistic interpretation of it,” Shyukin shares with Colossal. “It was fascinating to find that a lot of floral and plant structures follow certain mathematical rules, which we could replicate and apply to our own structures.”
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Considering Complexity and Ritual, an Imaginary Universe Emerges from Psychedelic Digital Illustrations
Luis Toledo has a knack for building ethereal universes. The Madrid-based artist, who works under the moniker Laprisamata, digitally illustrates otherworldly scenes and composite characters formed from vibrant blocks of color, patterns, and mundane objects, like pineapples and leaves. “I am interested in working on the complexity of human beings and animals, working against the medical anatomy atlases that try to simplify living beings. Nature always develops complex shapes, and I try to imitate that,” he tells Colossal.
Psychadelic in style, the collaged renderings are part of a larger narrative relating to the rites, rituals, and beliefs of the Blue Desert, Toledo’s imagined world. He explains the fictional universe:
Most of these artworks take place in the Blue Desert. The Blue Desert or The Desert of the Blue Men is the place where the Iberians will live, an ancient sea where priests make rituals and sacrifices, and where the three-eyed skull and black felines are venerated. Land of Esperpentos where elms used to grow and where some olive trees, acacias, almond trees, and thyme now survive.
Toledo created many of the pieces shown here during lockdown, while he was confined to his apartment with little access to nature. “I needed the characters in my works to be located in large open spaces where there was nothing to prevent the sky from being seen,” the artist writes.
Eventually, Toledo hopes to compile these illustrations and develop the characters’ narratives in a graphic novel or book, an endeavor you can follow, along with more of his kaleidoscopic works, on Instagram and Behance.
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Argentinian artist Sofia Bonati (previously) illustrates arresting portraits that question the distinction between subject and backdrop. She poses her often unsmiling women against dense floral motifs or within dizzying, black-and-white stripes that conceal the bounds of their hair or clothing. Rendered within a tight color palette, the figures stare forward calmly, adding an element of serenity to the otherwise hypnotic works.
Currently living in North Wales, Bonati shares many of her feminine illustrations and glimpses into her creative process on Instagram and Behance. Prints and other goods adorned with the earnest figures are available on Society6.
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Stacked Chevron, Multi-Colored Stripes, and Ornamental Motifs Detail Frances Priest's Meticulous Ceramics
Based in Edinburgh, artist Frances Priest merges stripes, chevron, and asanoha designs into impeccably complex motifs. Generally utilizing bold color palettes, Priest’s hand-built vases and bowls begin with sketches on paper before being transferred to test slabs of clay. The artist says she treats “the surface much like a sheet of paper,” as she inscribes each vessel using scalpels, patterns, and aluminum stamps.
The entirety of the piece is enveloped in the surface design so the works appear to wrapped in, or constructed out of pattern. I think it is a real treat to pick up an object and find that the base has been treated with the same care as the rest of the work, it makes the form complete and also allows for the group works to be re-arranged into different compositions.
Much of her intricate work is derived from The Grammar of Ornament by British architect Owen Jones, which her father gifted her as a child. The classic text focuses on ornamental design spanning multiple regions and periods. “I can distinctly remember spending hours as a child tracing the designs with my fingers, leafing from page to page and absorbing the visual languages on display,” Priest said in a statement. Her most recent vases from her Grammar of Ornament series directly reference the marble and tile mosaics found in the book’s Byzantine section, the artist tells Colossal.
Priest, though, doesn’t limit herself to representing only singular styles or eras. Her ongoing Gathering Places project serves as a collection “extracted from my sketchbook and collaged together into my own new designs—parquet, tiles, parasols, and swags. I use the title gathering places for all the half-sphere vessel forms because they are just that, places to gather together collections of decorative motifs,” she says. For example, “Architekten” is based on stark angles in buildings by the architecture firm Saurebruch Hutton, in addition to the natural foliage she discovered in illustrations of Vienna’s Villa Primavesi.
If you head to Instagram, you’ll find more of Priest’s elaborate ceramics, in addition to a coloring book she created that’s free to download.
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