14 acoustic guitars, 31 dc motors, 300 m cable, fabric and one computer create the wall of delicate sound in Ruben Dhers’Playa. Using the computer to spin fabric-tipped motors just above the guitar strings, Dhers creates an atmospheric symphony played not by dozens of musicians but by a single computer only following the instructions that have been seth forth in its program. Watch the full video documentation of Playa after the jump. (via)
International design competition A’ Design Awards provides creatives a unique opportunity to their artwork on a global stage. Not only do designers get recognition by their peers but it also works as a powerful marketing campaign for the winners brand. Some categories that creatives can apply to compete in include Good Industrial Design Award, Good Architecture Design Award, Good Product Design Award, Good Communication Design Award, Good Service Design Award, and Good Fashion Design Award. Entries will be judged by an international jury panel of academics, design professionals and press members who will look for groundbreaking design, innovation and out of the box thinking. The deadline to register and submit your work is February 28th so make sure to apply today. You can do so here. Winning designs will be announced on the A’ Design Awards website and on Beautiful/Decay on April 15th. More winning designs after the jump.
Canadian artist Kathryn Macnaughton creates beautiful illustrative designs using suggestive imagery and pornographic material. I particularly love her “Filthy Rautten” series and her “Unicorn Sandwich.”
Recently, Canadian installation/performance studio Moment Factory put on a really ambitious show in Barcelona. The group designed and executed a video projection piece using the facade of Gaudi’s Sagrada Familia cathedral. Looks incredible. MF pulled off the piece three nights in a row during the recent La Merce Festival. It would kill my brain if I tried to engineer a video projection piece using a structure as complex as the Sagrada Familia. More images after the jump. (via)
Kyle Field, an Alabama native living in San Francisco, was born in the 1970s– and his artwork tends to reflect the mood of not only these two places, but also that era. Each craftily drawn watercolor depicts a folk narrative infused and confused with melodious psychedelic tendencies. It’s all so playful and harmonious. We find it challenging not to think of Field’s work in any other way but musical.
In April, Ward van Gemert and Adriaan van der Ploeg of the Rotterdam-based design studio Nightshop will be showcasing their unique “décor” at the Robert van Oosterom Gallery: large-scale rugs made out of colorful foam. Each one is created from the artists’ unique blend of urethane foam, which they put into syringes and squeeze out into spiraling and cross-hatched designs. Once the foam dries, it fuses to the adjacent “thread” and thereby creates a solid piece. There are currently seven carpets completed, and the artists plan to finish three more by the exhibition.
While the rugs appear functional (and comfortable—perhaps due to that soft, clay-like appearance), the artists have stated that they’re “they’re more objects without a clear use,” intended to be viewed as art pieces (Source). As colorful curiosities, they blend the traditional art form of carpet weaving with modern kitsch; the are reminiscent of everything from playroom décor to a carpet as seen during a psychedelic trip. On their studio’s About page, Nightshop professes to “bring aspects of ‘low-culture’ into their designs,” thereby “investigating the boundaries between good and bad taste” (Source). The foam rugs bring our attention to everyday objects, highlighting their innate design characteristics and artistic, culturally-relevant merit.
Compelled by her love for birds of prey, the Connecticut-based artist Brenda Lyons paints naturalistic images of animals real and imagined onto delicate feathers shed by wild turkeys. Her painting style is heavily influenced by the work of 19th century ornithologist John James Audubon, the author of the legendary illustrated text The Birds of America. Juxtaposed with the indexical aesthetic of her illustrations is the imaginative and fragile surfaces, which miraculously hold the luminous, soulful animal portraits.
Lyons’s work is a true marriage of science and imagination; alongside the more objective Audubon, she cites influences like Arthur Rackham and Susan Seddon-Boulet, famed for their magical images of faeries and mythological beings. With her brush, pen, and pencil, Lyons depicts the fantastical phoenix with the same realism as she grants the gray-nosed golden retriever. Domestic animals are afforded the same wildness as feral creatures; a cat sits, a mischievous glint in his eye.
The paintings, like living beasts, blend seamlessly into the turkey feathers, as if they grew and sprung forth from the same mother bird. The curves of the lost feathers dictate the movement and form of the animals; an eagle’s wing vanishes into the downey tufts of twin feathers, their shafts seeming to support his body. The phoenix crouches, his talons caught in the ashes that collect at the base of the feather.
For the artist, the painted features are a way of satisfying her wanderlust; like birds of flight, her hands dance, imagining strange and wonderful worlds where animals run wild. Take a look. (via Oddity Central)