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)
Italian artist Federico Lombardo’s portraits are washy, delicate, and often straightforward, yet in their best moments they possess qualities that are strange and askew. His subjects look distinctly Angelo Saxon or Scandinavian, light skinned and fair, and are conventionally attractive. Their faces, bare and plain, stare straight at the viewer with the knowing look of being gazed upon, often smiling or glaring in response. He has series of women and men, as well as couples and children made with oil, watercolor and by digital tablet, but by far, his watercolors showcase his best efforts. The way Lombardo applies his paint is mostly very controlled, yet in crucial areas he gives way to the fluid nature of the medium and in effect produces subtle, bizarre deviations in his otherwise bland looking subjects. In this sense, these instances of surrender are reflective of the work of Marlene Dumas; however, Lombardo’s work is wholly different in that it stays safe in its uncontroversial directive.
Guy-Olivier Deveau’s sculptures would be fascinating in any medium, the fact that he works with sand and ice makes them that much more appealing and interesting. Deveau started out sand sculpting as a summer job in Quebec City so he could earn money to finance his education in the filed of philosophy. Now that he’s a sculptor full-time the Canadian artist travels around the world creating his ephemeral sculptures and competing in competitions. Though he also works with wood, snow and ice, Deveau appreciates sand as a medium because he feels he can achieve his desired texture, shadow and edges. Indeed, his final products are amazing feats considering their medium. Each of his sculptures takes approximately three days to create and each requires an immense amount of patience. Deveau starts with a sold sand block and slowly and carefully carves from that.
Deveau will often include themes relating to philosophy, mythology or psychology, incorporating his interests along with his talent. For instance, his most recent sculpture made on a beach in Texas, Bleeding, features a horizontal face, seemingly melting back into the ground. The agony and expression of the face are remarkable taking into account that they were carved out of sand. Though his was one of many sand sculptures created for Sandcastle Days 2013, the sophisticated emotion of Deveau’s Bleeding allowed it to stand out as eye-catching and thought provoking.
Ben Skinner, a Vancouver based artist, has a knack for presenting ideas and phrases in the most visually relevant, and witty way. The “I got your back” dominoes kills me, so clever!
The work of artist Maico Akiba is almost a kind of future nostalgia. Maico begins his work with commonplace objects such as electronics or clothing. He alters the objects to appear as if they are 100 years old. Rust and moss are taking over electronics while paint chips and peels away. Although, the electronics look like relics, they are entirely functional. Perhaps, this is how the future ruins of present day life will look. They also serve as a comical type of existential reminder.
If you’ve ever renovated a home you know how challenging it is to find floor coverings that fit in with your Eames Eiffel chairs and Eli Walker paintings. And if you’re looking for something that’s made in the USA, great quality and environmentally friendly, it’s an even greater challenge. That’s where Stonepeak Ceramics comes in, they offer Italian quality tiles made in the USA using advanced technology to reduce waste and even carry a Greenguard certification.
Los Angeles has always held a special place in the hearts and minds of Americans, but for most it exists in an almost fictional capacity. Hollywood isn’t a real place – it’s a postcard, a huge sign on the side of a mountain bracketed with strategically placed palm tree silhouettes. Certainly not a place to call home, but for artist Justin John Greene that’s exactly what it is. Hollywood is a part of his heritage, and the work reflects that. Born and raised in the Los Angeles area, Greene’s work is strongly imbued with the history of the most romanticized industry in American culture. In his most recent solo show at Actual Size (an exhibition space he co-runs in the Chinatown gallery district of east L.A.) the influence of the film industry is in full focus. You Oughta Be In Pictures is a comprehensive installation that utilizes painting, sculpture, and video to create a truly immersive experience for the viewer. Installation may seem like a bit of a leap from Greene’s primarily two dimensional practice, but a closer look into the artist’s process bridges the gap seamlessly. His work is a distinctly enjoyable blend of sly historical references, direct compositional tactics, and cleverly applied humor. If you have the opportunity to see the work in person I strongly encourage you to do so.
Chris Maynard‘s tools of trade include a scalpel, forceps, and a love for the literal art of flight. With a deft hand, he etches delicate shapes and patterns into shed feathers, transforming them into more than just a part of a whole. In doing so, he coaxes out the secret lives of birds.
“My work with feathers gives me a satisfying perch from which to view the world,” Maynard says in his artist’s bio.
Maynard’s art is nothing short of celebratory at times: Six feathers arranged with miniature songbirds in mid-flight. Others are a peek into the everyday life, such as a bisected feather yielding the tiny form of a robin working industriously on catching the early worm.
With the kind of precision needed for such minute knifework, each piece could have easily been sterile and dispassionate. Instead, they are each joyful in their own way, from the flurry of movement of a flock of birds circling a roost to the burst of sapphire blue on a peacock’s plume.
Though the feathers were discarded, shed, or forgotten by their previous owners, Maynard has given them new flight. (via This Is Colossal)