all photos by Steve Messam courtesy the artist
While it’s certainly not the longest, this weight-bearing structure is definitely one of the more interesting bridges we’ve come across. Unveiled earlier this month, PaperBridge is the latest site-specific installation by environmental artist Steve Messam. It was constructed using 22,000 sheets of bright, red paper. And despite weighing in at over 4.2 tons, the free-standing structure doesn’t have a single screw, bolt or swab of glue holding it together.
On an aesthetic level, PaperBridge acts as focal point that creates a stark contrast between the bridge and the lush landscape. But on a conceptual level, Messam explains the key relationship between the bridge and its surroundings:
Paper is a simple material made from wood pulp and water. The intensity of colour used in the bridge contrasts with the verdant landscape making a bold statement of form and design. Alongside this the materials used have a resonance with the natural environment and the construction of the bridge also reflects local architectural forms, specifically pack horse bridges found throughout the area. All of the paper used in PaperBridge will be recovered and returned to the Burneside Mill for recycling into new paper once the project ends. This transparent cycle is part of the overall environmental narrative of the piece.
PaperBridge was part of the ‘Lakes Ignite’ project. It was located in the Grisedale Valley, near Patterdale and the public was invited to walk across it before it gets taken down today. (via Designboom and The Kid Should See This)
“24th Street Intersection,” 1977
Collection of installations by Blizzard Concepts utilizes hair-dryers in creative ways, from dancing string to guiding a paper aeroplance:
This new project combines magic and visual arts; burlesque / Unusual and light poetry. Endless loops, random paths, levitation, etc; we come face to actions over which we have no control but which by themselves, reaching the goal. And impracticable, the improbable certain parts gently pushes us towards reverie.
michael rakowitz, paraSITE homeless shelter, 1998
The fantasy or figurative coffins from Ghana, in Europe also called custom, fantastic, or proverbial coffins (abebuu adekai), are functional coffins made by specialized carpenters in the Greater Accra Region in Ghana.
These colourful objects which have developed out of the figurative palanquins are not only coffins, but considered real works of art, were shown for the first time to a wider Western public in the exhibition Les Magiciens de la terre at the Musée National d’Art Moderne in Paris in 1989. The seven coffins which were exposed in Paris were done by Kane Kwei (1922–1992) and by his former assistant Paa Joe (b.1947).
Since then, these art coffins of Kane Kwei, his grandson Eric Adjetey Anang, Paa Joe, Daniel Mensah (Hello), Kudjoe Affutu and other artists have been displayed in many international art museums and galleries around the world.
neviges pilgrimage church
Gottfried Böhm, 1964-7
"SEPTEMBER MMXIV" series.
Ivory paper 30x40cm.
Kartoffelchips, potato chips, ca. 70 x 500 x 250 cm
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.