Sonia Rentsch is an art director and still life artist from Melbourne. From intricately arranged appetizers to a hanging lamp fashioned out of a head of lettuce, Rentsch’s work is both dynamic and elegant, often incorporating food as a subject. This trend is put to most effective use in her series Harm Less, an installation in which Rentsch fashioned weaponry out of completely organic objects. Each piece is visually arresting, the imagery of handguns and bullets hauntingly familiar and yet transformed into something beautiful when created out of green produce and plants. The series, in which handguns are made out of everything from bamboo shoots to roses, presents a powerful statement about gun violence and its impact as well as Rentsch’s impeccable eye for detail.
Rentsch has worked with photographer Scott Newett, assisted with design duo Tin and Ed, and worked as the production designer for Australian popstar Kimbra’s music video for “Good Intent”. Her work is consistently bright and colorful, but always proffers a lens through which viewers can fully immerse themselves in the elaborate scenery. One of her most recent projects, a public installation with artist Ben Davis, included a garden of colored pinwheels displayed in Melbourne’s La Trobe Place. Although the meticulous design behind Rentsch’s still life images is evident in each minute detail, Rentsch is assured in working with no set process. As she said in an interview, “An idea comes as quickly as it has to.”
Brazilian artist Henrique Oliveira creates monumental, site-specific installations that confront the viewer with oddly formed, but organic looking sculptures. Oliveira’s way of shaping and installing the material against the gallery wall make it seem like an ever-changing parasitic growth upon a manufactured, man-made landscape. The objects’ swirls, knots and root-like quality allude to both natural and artificial substances.
The artist’s way of merging varied materials, amongst them recycled wood and decayed debris from the Sao Paolo streets, suggest that the artist is interested in manipulating both indoor and outside space to finally create a harmonious coexistence between urban design, plant life, and biology. (via Design Boom)
Japanese artist Mika Aoki creates intricate glass sculptures inspired by natural forms, creating new, clear, alien-like worlds. Aoki’s glasswork resembles biological specimens and systems. Her amoeba-like entities are displayed in clusters, as growths or adornments on a malfunctioning car, or in glass containers, as if they are specimens to be collected and studied. Sometimes, Aoki illuminates her glass, enlivening her organic forms with the presence of light. In her work, she contextualizes the fragility of glass with the hardness/coldness of scientific classification and automobiles, underscoring the delicacy and temporality of her designs. Important to Aoki is her medium’s transparency, and that she is able to control its solid-liquid-solid state, manipulating a material that is nearly invisible. Of her material, she says, “Unless light shines on it, we can’t confirm the existence of it because it is transparent. But once the light shines on it, glass truly emanates a special presence.” (via my modern met)
You may remember when we first featured French artist Miguel Chevalier’s work back in September for his Paris construction tunnel light installation and musical collaboration with Michel Redolfi. Revisiting traditions of Islamic art, namely mosaics and carpets, Chevalier and Redolfi have joined forces again to create a similarly interactive digital/sound project earlier this month at the Sacré Coeur church in Casablanca, Morocco. From April 3-6, “Magic Carpets” transformed the church’s floor into an interactive user interface featuring graphics evolving along with the movements of visitors. The digital light display features generative graphics that multiply, divide, grow, and transform, reminiscent of cellular and organic systems. Visitors’ shadows become a part of the light and graphics display, allowing users to become a part of the installation. The effect of combining organic and digital technologies renders the installation almost psychedelic, enhanced by the accompanying ambient music by Redolfi. To view the installation in action, be sure to check out Claude Mossessian’s video. (via design boom and inhale mag)
Bristol artist Camila Carlow creates these lovely renderings of human organs by foraging for wild plants, weeds, and the occasional animal part and then sculpting and arranging these various bits of flora. Her series, entitled “Eye ‘Heart’ Spleen,” recontextualizes images of organs such as a heart, lungs, stomach, uterus, liver, and testicles, demonstrating the reflection of internal biological structures with external natural structures. From Carlow’s site, “This work invites the viewer to regard our vital structures as beautiful living organisms, and to contemplate the miraculous work taking place inside our bodies, even in this very moment.” You can order prints and keep up with this particular project’s developments via its Facebook page. (via unknown editors)
New York City based artist Klaus Enrique constructs portraits based on painter Giuseppe Arcimboldo’s 400 year old work that features human figures with features represented by images of plant, fruit, or other organic elements. Enrique was inspired to create these portraits while photographing a human eye peeking out of leaves. He thought he could use leaves to construct facial features or masks. After some research, Enrique discovered Arcimboldo’s paintings and decided to recreate the images. This project has also inspired him to recreate other portraits, like those of Darth Vader, Gandhi, and The Terminator.
Enrique says, “Although most recognize the images immediately as portraits, there are many people who do not. At first they only see the individual parts of the image: the fruits, flowers, and vegetables. But after looking at it for a while, they realize that it’s a portrait of a person. To see that thought process being played out in real time is very satisfying to me because it mimics the thinking behind the art: that simple organic objects come together to create something more meaningful than the sum of its parts.” (via lens scratch)
Japenese artist Ishibashi Yui’s sculptures are both unsettling and serene. Using a variety of materials, such as wood, resin, cloth, clay, steel wire, and stone powder, she often depicts figures whose roots extend and project outward in many directions. These figures appear passive and complacent to these protruding branches, aware of the lack of control they have over this organic process. Some of these protrusions seem painful or unexpected, but ultimately inevitable. Often her figures are off-white, while their protrusions are green or red-hued. These figures are human-like, but their soft, round and white bodies give the viewer a sense they are also of the earth, resembling a plant’s bulb. Yui’s work makes us deeply aware of how we are intertwined with the natural world, and the balance and cycle of nourish and depletion that living and dying requires. (via hound eye)
Angelika Arendt creates her vivid sculptures out of a variety of materials. Arendt often twists and shapes polymer clay to form dripping and swirling patterns, but also uses foam, wood, and acrylic paint to fashion similar forms that are rich in texture and movement. These intricate patterns lend her work an organic touch, something psychedelically oceanic, perhaps. A quick look at her illustrations reveals her incredible ability to transform intricate two-dimensional designs into three-dimensional models. Arendt lives and works in Berlin.