How Wood is Cut
I feel great comfort now.
this explians so much
Naef Spiel está diseñado por Kurt Naef en el año 1957. Naef es un prolífico diseñador de juguetes de madera. El Naef Spiel y el resto de los juegos que realiza están planteados como elementos combinables para llegar por suma a formas más complejas. Cada una de las piezas del Naef Spiel tiene ocho “dientes” en ángulo, que permiten una unión sencilla para formar construcciones escalonadas, como puentes y torres…Las piezas están realizadas con procedimientos manuales que permiten un control riguroso ya que necesitan gran precisión para así jugar adecuadamente. Cada una de las piezas tiene una variedad limitada de colores.
Naef también realizó otros juegos con piezas de unión que permitían el ensamblaje.
Artist Gianluca Traina’s series titled Portrait 360 combines photography and sculpture to create alluring, mysterious objects. Mannequin-esque heads are covered in distorted, mosaic-looking squares that are simultaneously recognizable humans yet pixelated and indiscernible. To craft these works, Traina first shoots photos of anonymous subjects and focuses on their faces. He then uses a warp and weft technique to weave the 2D-images into 3D paper busts.
In the blurred surface photos, you can tell where the skin ends and the hair begins, as well as where features like the eyes and nose are. But, those things don’t always match up with the attributes of a bust. Eyes are on the back of the head and hair covers the nose and mouth. There’s no front or back anymore, and instead there’s a constant play between photographed surface and the sculpted one. (Via Hi Fructose)
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Jacques Callot (French, 1592-1635, Nancy, France) - Detail from The Temptation of St Anthony, 1630 Etchings
Legitimately still one of my favorite details from any piece of art. Fucking beautiful.
Getting too old for this…
Atlanktikwall battery, Vigsø, Denmark
Holly leaf on red background
19th century Indian Dhurrie rug, with mirrored symmetrical animal design.
Pour son cru 2014, le Playground Digital Arts Festival a fait appel au studio d’animation londonien Bif, pour réaliser la video d’ouverture de l’évènement. La video laisse paraître une ville futuriste dont la matière se déforme et s’étire à l’infini. Belle prouesse de réalisation digitale à découvrir en vidéo.
Though made of clay and designed as functioning vessels, the ceramic vessels created by Prague-based artist and designer Adam Železný are anything but ordinary. Using an innovative method of controlled detonation, Železný sends shockwaves into small refractory containers holding masses of clay to create unique works of art. Appropriately titled “The Blast,” this series of works offers an unconventional approach to a familiar art form— “a kind of punk analogy to an industrial porcelain production.”
Based on complex tests and intricate measures, Železný’s system of charges results in one-of-a-kind bowls spanning various shapes and sizes. While each bowl is undoubtedly a work of art in and of itself, to the artist, it is not the finished product that is key but, rather, the process itself.
In order to capture this fascinating method of production, Železný has documented the entire process in a video. Depicting the artist’s “alternative methods of ceramic shaping,” the short video shows Železný himself as he sets off the explosions and subsequently creates the sculptures. While the video also briefly depicts the project’s initial set up and final, tangible results, its focus remains on the process—which is, ultimately, presented as a work of art.
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Artist Harry Roseman takes the ubiquitous material known as plywood and with careful cuts and placement, creates the illusion that this rigid material is pliable. The large pieces include “folds” that make them look as though they are textiles. Roseman uses a single piece of wood and mismatches its grain to break up the visual monotony; it fools us into think that there’s a back and a front to this “fabric.” The rigidity is reminiscent of a plastic camping tarp, but it’s still impressive at how, with relatively few cuts, the pieces are believeable as something other than what they’re made of.
These sort of observations and overall sentiment is part of what Roseman is trying to achieve in his sculptures, writing:
The subjects of my work are the bend of a curve, the conjunction of edges, the turn of a fold, the weight and nature of objects, the conjunction of idea and object, the way an idea sits in an object and next to an object and the way surface can obscure and also reveal. One of my aims is to close the distance between thinking, looking and making, to the point where it is hard to tell the difference.
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Aftermath of the inundation of the Wieringmeer in April 1945.
Jungjin Lee, Two Photographs from the Series “Unnamed Road”, (2010-2012)