A jewelry collection by Icelandic designer Ágústa Sveinsdóttir explores the transience of all earthly pursuits by incorporating one unusual material, dust. Her metallic wearables allow their owners to experience the transformation and disintegration as the jewelry changes and decays over time.
“In this world everything existing is linked to the process of birth, decay and disappearance. That is the way of life, the way of nature. Inspired by the tradition of the symbolic Vanitas paintings, the Dust collection is a reminder of the transience of all earthly pursuits and how it can be a motive for design.”
Designer wanted to break the traditions of material use and employ materials that have been considered worthless. She chose dust as the ultimate result of disintegration: “It’s everywhere and ever-present <…> It is everything and yet metaphorically the embodiment of nothingness.” Sveinsdóttir questions the material worth by juxtaposing jewelry, a sign of beauty and wealth, and dust, an inconvenient mundane matter that people always try to get rid off.
The dust was collected from abandoned Icelandic farms. Designer pursued to find dust at its purest form, thus derelict places where time has stopped, man has left and nature has taken over were perfect. Using a biodegradable adhesive, dust particles were transformed into a jewel coating and used to cover the metallic bangles and rings. With time, the dust fades away unveiling the manmade skeleton of the object. (via designboom)
“Entoptic Phenomena” is an ongoing photo series by Texas-based multi-media artist William Hundley. The project features people jumping under colorful pieces of fabric and creating mysterious floating sculptures. The final photographs are then edited to remove the subject and leave the viewer with nothing but the ephemeral cloud-like figure hanging in the air.
“My work started with the influence of Erwin Wurm and Maurizio Cattelan, these absurdists. I love the practical-joke nature of it; if I can make humor and beautiful aesthetics come together, that’s the biggest powerhouse I can imagine.”
The name of the project comes from the term entoptic phenomena, meaning “visual effects whose source is within the eye itself”. In simpler words, it’s those dots and wrinkles that sometimes appear in our sight due to bright light or pressure applied to closed eyes. Entoptic images have a physical basis and are not considered to be illusions. However, they share one common feature: the observer can’t share a specific view of such phenomena with the others.
By merging real and unreal – the scientific explanation of entoptic phenomena and his own visual representation of it – Hundley introduces disguised absurdity to his project and proves our knowledge of the world is only a matter of perspective.
Petros Chrisostomou, a New York based photographer, plays with scale, mass-produced and ephemeral objects, and hand-crafted mini architectural models in order to challenge the viewer’s visual certainties, and visual signifiers of contemporary mass culture.
The multi-faceted works resemble lively assemblages of what seem to be large-scaled mundane objects in exaggerated interiors – some resembling wreckage, and others referencing the extravagance of a Rococo palace.
Christosomou’s photographs become the field for mixing the high- and the low-brow, mass culture and genre painting, the luxurious and the expendable, as indications of social class distinctions. At the same time, the relations between the real and the imaginary in his oeuvre are a commentary on the mediated images of contemporary mass media that distort the natural and immediate dimension of our relation to reality, determining, among other things, the conditions for viewing and receiving art.
The relevance of this body of work does not completely rely on its technical complexities, and cultural commentary, but also in its visual power. We know that the artist is not fabricating monumental sculptures resembling stiletto shoes, instead he is fabricating small-scaled architectural spaces- that play out with the objects, making them look bigger than they seem. It is important to notice, as curator Tina Pandi points out that “the alteration of scale and reversal of the relation between object and environment, between imaginary and real space.”
Slinkachu has continued to carry out his poetic, mini street installations since we last checked in with him. The British artist continues to up the ante with each new, ephemeral piece. Employing miniature figurines and various objects, the artist stages tiny dramas (often humorous, and socially aware) in site-specific public locations. Click through to see some newer images of his “Little People Project” (previously) and some selections from the slightly older “Inner City Snail” series.
Jaw-dropping installations made from cardboard and tape, colorful and geometric paintings on discarded wood or subway car interiors, highly-patterned murals on the streets — Clemens Behr creates a little bit of everything. Or, rather, the Berlin-based artist makes A LOT of everything, much to the delight of his followers. Full disclosure: Yes, I am one such enthusiast.