Architectural Furnishings: Fish Lamps
Frank Gehry is an amazing architect known for his works at the Sydney Opera House. He also does an great job on this fish lamp commissioned by Colorcore. Gehry’s vision of the fragmented white material as the scales of a fish propelled a series of lamps with forms carry the realism of the aquatic creatures and with scales of the “fall-into-place” quality present in Gehry’s architectural works. I love the illumination inside the fish, it really sets off a nice glow. Be sure to check out more of Frank’s work after the jump.
lanzavecchia + wai: space quilt - one day in the life of V.M. on earth
basing their design on the life of ‘V.M.’, lanzavecchia + wai’s blanket is an everyday object, marked by events and actions which have occurred in a routine day of her life. the 220 x 150 cm quilt is woven from golden Mylar® strips which have been repeatedly hand-stamped, in chronological order of the individual names of the objects that were encountered, touched or used. in this form, a seemingly mundane fragment of life is sealed and given permanence. these words re-materialize the possessions, their related everyday gestures and rituals of a day on earth that it is impossible to repeat ever again. [Via]
(via fuckyeahinnovation)
IT’S ALL IN A ROLL
I can honestly say I didn’t know I would find art in the middle of a toilet paper roll. But there’s no denying this is amazingly intricate business. Parisian Artist & Illustrator, Anatassia Elias is creating these tiny worlds with manicure scissors, a cutter and tweezers - carving paper shapes in the same color as the roll. Notice how she makes use of the natural light to enhance the scenes.
All images © Anastassia Elias
L’Ivrogne (The Drunk) by Gilles Barbier.
1999-2000 Museum of Contemporary Art, Paris.
Sculpture
Look closely and you’ll see that these amazingly complex sculptures by Jennifer Maestre are made out of pencils. If you could touch them, you’d find out that these prickly sculptures aren’t solid structures but made from a sort of woven material that strings together the pencils like beads. The surprise you may experience at discovering these things is an important aspect of her work:
My sculptures were originally inspired by the form and function of the sea urchin. The spines of the urchin, so dangerous yet beautiful, serve as an explicit warning against contact. The alluring texture of the spines draws the touch in spite of the possible consequences. The tension unveiled, we feel push and pull, desire and repulsion. The sections of pencils present aspects of sharp and smooth for two very different textural and aesthetic experiences. Paradox and surprise are integral in my choice of materials. Quantities of industrially manufactured objects are used to create flexible forms reminiscent of the organic shapes of animals and nature. Pencils are common objects, here, these anonymous objects become the structure. There is true a fragility to the sometimes brutal aspect of the sculptures, vulnerability that is belied by the fearsome texture.
via: staceythinx
(Source: juxtapoz.com)
