Old Finnish people with things on their heads. That is all.
(OK, I lied, that is not all. These are part of a funny, gorgeous photo series by Karoline Hjorth and Riitta Ikonen called Eyes As Big As Plates, and you should look at as much of it as you possibly can.)
(Also: hat tip, so to speak, to Mr. Benjamin Birdsall.)
After discovering a batch of negatives that had been left in a thin layer of chemicals for months, Rohn Meijer decided, why not develop them?
To his surprise, the damaged negatives produced stunning images with fascinating coloration.
The New York Times Magazine has an extraordinary story about the custom prosthetic limbs being made by Sophie de Oliveira Barata, with beautiful portraits by Nadav Kander. Go look.
Phillip Stearns - Retinal Pigment Epithelium and Other Vision Technologies, Real or Otherwise Imagined (2013)
“A study of the effects of high voltage and household cleaning products on instant pull apart color film.”
Israeli artist Eyal Gever explores catastrophic events through his art. In his pieces known simply as Nuclear Bomb and Large Scale Smoke, he fabricates the fiery mushroom cloud that forms from an atomic explosion and the suffocating carbon and debris that billows from a volcanic eruption, respectively.
Featured Artist // LAURIE FRICK
As someone whose sketchbooks consist largely of tangible forms—people, objects, and words, I can’t help but to be in awe of artists who display a mastery over the more abstract. Without overt regard for anatomy or a pointed interest in making known items look the way one would expect them to, one’s ability to focus in on color, shape, and composition naturally increases. Frick’s art manages to look simultaneously clean, with its straight and detailed edges and repeated patterns, and chaotic, with its color placement and overall slanted shapes—like an intricate maze. A mimicry of the contradictory nature of the human condition? Perhaps that’s a bit of a stretch.
In any case, Frick’s art goes beyond the abstract—her “experiments in self-tracking” are all artistic visualizations of data, not a far cry from the graphs and charts scientists and mathematicians utilize in their own data analysis. As part of her process, Frick collects innumerable amounts of data about herself, her sleep patterns, her walking locations, her various moods, and transforms these numbers into something visually palatable by the general public. Universal accessibility of science and statistics is something I support strongly, along with a high sense of self-awareness, and even more interesting is the way that Frick hopes to discover something on the front of Neuroscience through her art, her data patterns. Humans excel at identifying such patterns, and while the differences between our self-visualizations may symbolize our individuality, their similarities could unearth a finding even more interesting and significant to our collective advancement.
In the end, both science and art are creative processes, after all.
[ If you’re intrigued by this, I suggest watching Frick’s TEDx Talk, HERE. ]
From Laughing Squid, 3D-Printed Paintings of Nanomolecular Structures by Shane Hope.
Shane has a pretty interesting website:
Q: Is your work deliberately trying to be opaque, and if so, what are the benefits of hyper-complexity (both conceptual and aesthetic)?
A: Many have been too hypnotized by technocratic solutionism to see that not all clarity is benevolently about accuracy and not all lack thereof should be immediately suspect. Getting obsessive-compulsive about the future can be counterproductive inasmuch as it often precludes a greater gamut of adaptability. Ambiguity, opacity, allusion, metaphor and semantic slippage can all serve as really important tools when making artwork, or realities for that matter. From the butterfly flap you choose, emerges the superstorm you deserve.