Central to Doug Aitken’s “100 YRS” exhibition at 303 Gallery is a new “Sonic Fountain,” in which water drips from 5 rods suspended from the ceiling, falling into a concrete crater dug out of the gallery floor. The flow of water itself is controlled so as to create specific rhythmic patterns that will morph, collapse and overlap in shifting combinations of speed and volume, lending the physical phenomenon the variable symphonic structure of song. The water itself appears milky white, as if imbued and chemically altered by its aural properties, a basic substance turned supernatural. The amplified sound of droplets conjures the arrhythmia of breathing, and along with the pool’s primordial glow, the fountain creates its own sonic system of tracking time.
Behind a cavernous opening carved into the gallery’s west wall is “Sunset (black),” a sculptural work that resembles cast lava rock in texture and spells out the word SUNSET as it glows from behind, its letters forming a relic of the entropy and displacement inherent in the literal idea of a sunset. Viewed from and obscured behind a hole in the wall, the sculpture appears as cosmic debris, as if pulled from a parallel world where a sunset is only an idea, obfuscated by detritus of the age of post-everything, a reductionist standpoint between the modes of pop and minimalism, its glow fading into the next realm. Also on view is the mirrored sculpture “MORE (shattered pour)”. Like a time-piece, the work creates a kaleidoscope of reflections of all that surrounds it. As if it were a fragmented film, “MORE (shattered pour)” creates a literal manifestation of the present and aspirational escapism, which cannot be viewed without glimpsing a piece of one’s self within the work’s reflections. Another refraction of time is glimpsed through “Fountain (Earth Fountain)”, created from plexiglas letters spelling the word “ART”, through which a slurry of moist dirt is pumped, physical earth perpetually redoubling and standing in for itself. The word ART itself subverts the entropy of time, creating a holding pattern that organic matter cannot escape from. The flickering lightbox “not enough time in the day” completes the communicative supercurrent of shimmering malaise, its letters overlapping as if seen inebriated, somehow both more profound and less understandable. The work creates a cycle that is both hypnotic and inescapable. (via)
Chic & Artistic is a Paris based multi-disciplined creative studio working in a wide array of mediums and styles. Their Panto’ N’ Roll series caught my eye and immediately made me chuckle. Mixing pop culture references, typography and Pantone color chips, they have created a humorous word/image association game for all of us to enjoy. (via)
Chinese artist Li Hongbo’s sculptures are quite bizarre. Walking up to them you may think that they are made out of delicate porcelain but as you examine it further you’ll see that it in fact is made out of thousands of sheets of paper manually glued together. As you pull the paper apart the figures twists, turns, bends and abstracts creating stretched out imagery that is at once horrifying and exquisite. (via)
As part of our ongoing partnership with Feature Shoot, Beautiful/Decay is sharing Sophie Chapman-Andrews’ article on Tom Broadbent.
Zuki, a Gargoyle at home. Zuki lives in Milton Keynes and works in IT. Zuki owns a few suits, the gargoyle is just one of them.
First rule of Fur Club: don’t reveal your identity. Second rule of Fur Club: don’t talk to journalists.
British photographer Tom Broadbent has been getting to know various “Furries” throughout the UK for the last few years. Furries are everyday people, from bank managers to project managers to actors, who dress up in elaborate furry animal costumes and meet up to chat and hang out. Furry groups have been spotted walking around London’s St. Paul’s Cathedral and Millennium Bridge.
At Home With the Furries is Broadbent’s ongoing project, born from a desire to capture the personal, everyday side of their lives without breaking that first Furry rule. Broadbent plans to exhibit and publish this unique series, so keep an eye out for that.
The Flower Carpet Festival is a popular event that takes place in Grand-Place Brussels every other year. Since 1971 over 600,000 Begonias flowers are arranged in an intense pattern filling the city square with a powerful and graphic carpet made entirely out of flowers. Taking months of planning to produce (with only 48 hours of install time) the event brings together landscape architects, technicians and hundreds of voluntary participants weave the flowers in place for the five day event! See more photos from this years festival as well as previous years designs after the jump. (via)
Director David Wilson along with Colonel Blimp and Andres Guzman created this trippy and colorful music video for the Australian band Tame Impala. It is a trippy sensory overload ride through a young man’s fantastical desire to forego a sexual escapade with his teacher. This video thoroughly illustrates “Mind Mischief” with a youthful and coming of age sensibility.
To view more about the project and to view a making of “Mind Mischief” video, visit here.
The ephemeral installation Tapis de sucre (Sugar Carpet ) by Aude Moreau at Smack Mellon blocks out the majority of the gallery restricting visitors to the perimeter of the space. The delicate installation is comprised of 2 tons of refined white sugar meticulously spread into an oversized carpet embellished with Persian rug motifs. Referring to domestic comfort, the use of refined sugar within the gallery’s industrial space also aims to spotlight the overlooked and undervalued process of production.
“The adjective “refined” equally defines the matter transformed by the industrial purification process which produces the sugar’s whiteness, and the objects and attitudes selected within a cultural hierarchisation process. Through a use of the trompe-l’oeil, this installation refers back to our ambiguous adherence to a domestic comfort which systematically evacuates the realities of production.” (via)
London based artist Jacky Tsai takes one of the most iconic images of all time and breathes new life into it by taking away the negative associations that might come to mind when one thinks of the human skull. Covering his sculptures, prints, and drawings in ornate floral imagery Jacky’s take on skull imagery have opened up many exciting doors such as working at Alexander McQueen creating patterning and textiles for the famous fashion brand. Now working on the debut of his own fashion line Jacky is definitely one to watch both on and off the runway. (via)