Back in the early days of anatomical illustration (c. 1500 – c. 1800), artists often rendered the human figure within the lavish landscape of the anatomist’s hometown. These historical illustrations are part of what inspired photographer Jan Kriwol and CGI artist Markos Kay to create the photographic series Human After All. The main character is the human circulatory system in the context of mundane urban life—grocery shopping, eating a burger, and even taking a cigarette break.
The Warsaw-based Kriwol is influenced by his connection to the Polish urban skateboarding scene, and he often infuses his photography with optical illusion and humor. So when he saw his girlfriend’s drawing of a human circulatory system smoking a cigarette, he thought creating a realistic version was the perfect challenge.
Kriwol approached several CGI artists with his idea, but the complexity of the project proved too difficult. He finally found Kay, a self-proclaimed visual alchemist based in London, who immediately took to the challenge of figuring out how to render the circulatory system in a way that looked as natural as possible. Kay found inspiration in the anatomy textbooks of Andreas Vesalius, Giulio Casserio, and Henry Gray. The two artists also studied images of the plastinated human circulatory systems pioneered by Dr. Gunther von Hagens of the infamous Body Worlds exhibits.
Kay shared with VICE Creators Project that, “the biggest challenge for this project was creating an anatomical character that looked life-like and integrated with the real environment. We spent a lot of time experimenting with different postures, and oftentimes we had to exaggerate the posture greatly so that it could translate visually with the deconstructed structure of the circulatory system.”
Kay started by modeling the main arteries and then used generative simulation to organically grow the thinner arteries and capillaries to fill out the figure. Meanwhile, Kriwol shot the urban settings in Warsaw, Tel Aviv, Masada hill in Israel, Grenoble, Berlin, and Brussels, as well as Cape Town, South Africa. Kay then recreated each photographed environment in 3D so that he had control over the reflections and shadows. The end result is a harmonious render of a delicate anatomical figure within its environment. Especially fitting is the circulatory figure at the bus stop with its reflection of the rivers and tributaries in the topography map.
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Returning to Roots: A New Book Highlights How Indigenous Practices Can Create More Sustainable Technology
Self-described designer, activist, academic, and author Julia Watson is trying to quash the boundary between native practices and technology in a new book that explores the ways indigenous wisdom can combat the high-tech approach to design and fighting climate change. In Lo—TEK Design by Radical Indigenism, Watson shares knowledge that transcends generations and cultures in an attempt to debunk the myth that indigenous approaches are primitive and far removed from current conceptions of technology. Throughout its more than 400 pages, the book explores ideas from 20 countries, including Peru, the Philippines, Tanzania, Kenya, Iran, Iraq, India, and Indonesia, about how to tackle more sustainable technology and design. It also contains a forward from anthropologist Wade Davis.
Watson founded Julia Watson Studio, an urban design studio, in addition to co-founding “A Future Studio,” described as a collective of conscious designers. She also teaches urban design at Harvard and Columbia University. Lo—TEK is scheduled to be released this month by Taschen. If you liked this, check out the recently published Primitive Technology: A Survivalist’s Guide to Building Tools, Shelters, and More in the Wild.
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In Nara, Japan, Sika deer are not restricted to forests or parks, but rather mingle in the urban center much like humans—congregating in green spaces, browsing open shops, and even lining up neatly to pass through turnstiles. Although viewed as a burden in a most of the country, in Nara the deer population is sacred and protected by law. Beyond the Border, an ongoing series by Kanagawa-based photographer Yoko Ishii, captures the deer in everyday moments across the city, from collectively passing down a major street, to pausing to feed their young below a stoplight.
Ishii was inspired to photograph the ways the animals interact with common city infrastructure after observing a pair of deer paused at an intersection in 2011, and especially loves photographing them while the city is at its most bare. “These picturesque moments when early in the morning the deer can be found standing in the middle of desolate intersections, not bound by man’s borders and laws, yet inhabiting a man-made city is fascinating and inspiring,” she explains in a statement about her series.
Beyond the Border explores how the animals exist outside of the basic rules and regulations strictly crafted for the city’s human population, instead living free amongst the many pavement markings and stoplights. Ishii published a book of her photography titled Dear Deer in 2015, and will be included in this year’s Auckland Festival of Photography in New Zealand from May 31 to June 16, 2019. You can see more of her recent work on her website and Facebook. (via Īgnant)
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JaeCheol Park, who goes by the artist name PaperBlue, creates intricate drawings in the style of architectural drafts. But rather than imagining a buildable building, Park employs the classic illustrative aesthetic to form fantastical urban environments where structures appear and disappear, bleeding into one another in a haze of geometric patterns. His loose linework and intensive layering enliven the historical architectural styles he highlights in his drawings. The artist, who is based in Seongnam, South Korea, has a broad audience for his digital and concept art along with his more traditional drafting-inspired work. Park shares drawing tutorials on Youtube and finished work on Facebook. He has also published a book, which is available on Amazon. (via ARCHatlas)
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In Daniel Shipp's series Botanical Inquiry, the Sydney-based photographer explores how plants and flowers found at the edges of urban infrastructure fit into our modern world. Shipp collects seemingly unremarkable plants and photographs the subjects in built dioramas, an environment that allows him to manipulate the relationship between foreground and background with a controlled precision. Through this process he is able to create dramatic photographs in-camera, shooting digitally but using old visual effects techniques developed for early cinema.
By highlighting botanical specimens we have culturally labeled “weeds,” Shipp attempts to shift the viewer’s perspective on flora that they might walk past each day. He recasts these marginal plants as the subject of each of his photographic stories, showcasing their knack for survival even in the face of pollution and harmful human intervention.
“There are some beautiful ‘weeds’ that we might walk past all the time,” Shipp explains to Colossal. “I knew that if I could present these often unnoticed plants in the right context that there was potential for storytelling. Next time you go for a walk make an effort to look for plants in places you wouldn’t normally—shopping center carparks, service stations etc.”
Shipp further explained that one of the most beautiful colors he has photographed for the series was found on the underside of the foliage of a plant common to industrial parks across Sydney. The hidden purple was one of the most incredible metallic shades he had ever seen, and it had been sneakily surrounding him for the majority of his life.
Shipp was recently announced as the winner of Magnum and LensCulture's 2017 Fine Art Photo Award. You can see more of his photographs on his website and Instagram, and take a behind-the-scenes look at his Botanical Inquiry series in the short video below. (via This Isn’t Happiness)
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Working at 1:20 scale, artist Joshua Smith builds in-depth works that capture the layered existences of urban environments in cities such as Hong Kong, Sydney, and Los Angeles. His miniature buildings showcase the details and detritus left by the diverse population of each city, bringing in elements of the city’s workers, inhabitants, and street artists. These marks can be seen through heavily graffitied exteriors, and thoughtful additions like a small table on the roof of one building with takeout food from the tiny Chinese restaurant below.
Smith has been working on this series for the last two years, after stints as both a stencil artist and gallerist. Using several reference photos from a building’s actual site, he utilizes MDF, cardboard, and plastic to create the base of the work, and chooses paint and chalk pastels for the exterior’s details. Smith’s newest four-story work took him three months to complete, often working 8-16 hours a day.
The Australian artist recently exhibited his miniature buildings with Muriel Guepin Gallery at VOLTA Art Fair in New York City from March 1-5. You can see more of his work on his Instagram and Facebook. (via My Modern Met)
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Editor's Picks: Art
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