March 04, 2016

Transylvania by Mathieu Le Lay

Mathieu’s passion for cinema & nature guided him to perform a year of study at IFFCAM, the French wildlife film school, after he graduated in wildlife conservation at Salford university (UK).

Since 2008, he is directing films to tell stories about his fascination for strong interactions between man and the wild environment.

The documentary film genre allows him to stage his characters playing at their own role, adopting a more intimate approach when filming on the field. He also looks for personal aesthetics & evocative atmosphere in his visual style & cinematography.

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July 15, 2015

Golden Sea of Canola Flowers in Luoping, China

In early spring t you can witness an amazing “Golden Sea” of canola flowers. The canola flower fields in China are one of the world’s beautiful sight’s in small Luoping (Yunnan, China). Vast farmlands get covered in golden, yellow rapeseed flowers stretching as far as the eyes can see, all the way to the horizon. The best time to visit Luoping for this visual fiesta is February through March, by June the show is over.

July 14, 2015

Chain Link Fencing as Art by Soo Sunny Park

Soo Sunny Park’'s installation Unwoven Light animates Rice Gallery’'s expansive space, transforming it into a shimmering world of light, shadow, and brilliant color. Suspended from the walls and ceiling, thirty-seven individually sculpted units are arranged as a graceful, twisting flow of abstract form. Entering the gallery there is no set path to follow. Instead, we are invited to meander slowly as one might stroll along a river’s edge, stopping to admire the glints of light that dance on the water’s surface.

Unwoven Light continues Park’'s ongoing experimentation with the ephemeral qualities of light and how light affects our perceptions of architectural space. She began thinking about her installation by making a site visit to the gallery in July 2012, to experience the built and the natural elements of the space: its proportions and surfaces, and in particular its lighting conditions. Though immaterial, light is a critical structural element in each of Park'’s works. Here she has utilized both the gallery’s lighting and the natural light that enters through the front glass wall. Park notes, “We don’t notice light when looking so much as we notice the things light allows us to see. Unwoven Light captures light and causes it to reveal itself, through colorful reflections and refractions on the installation’s surfaces and on the gallery floor and walls.”

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July 11, 2015

Artist Paints “Bodyscapes” That Glow Under Black Light

“I’ve always been fascinated by black lights, the beauty of the human body, the world around me and the ability to create and express myself through art,” John Poppleton, the artist, said. “All of these ingredients I unexpectedly found creating what I call ‘Bodyscapes’”. He makes his artwork in a darkened studio – he paints with UV body paint under the illumination of the black light. From the artist’s perspective it becomes a very surreal even spiritual experience.

Artist Paints “Bodyscapes” That Glow Under Black Light 1

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July 10, 2015

Woven Installation by Studio 400

A team of twenty students from a fifth-year architectural design studio at california polytechnic state university, san luis obispo, developed the large-scale, interactive sculpture to showcase each student’s research book. The piece integrates both the introduction of the students’ investigative publications and their collective installation by creating a previously unseen environment.

‘white’ is an actualized representation of the relationship between environment, user, material and space. The 4,500 square foot space has been transformed by a climbable sculpture constructed from 80,000 square feet of plastic sheeting arranged in cylindrical and tapered weaves. The material was first sliced, then loomed, woven, stapled, taped and tied by the collective in order to create a supportive surface in which gallery goers could rest and examine their architectural studies.

The rolling white installation has been constructed in such a way that it may accommodate the weight of many gallery goers, the twenty students aspired to create a sculptural work which would function as a climbable surface which could divide the space.

Studio 400 decided upon plastic to develop the work due to its flexibility, strength, cost efficiency and ability to be reused or modified following its role in the ‘white’ installation.

Woven Installation by Studio 400

Woven Installation by Studio 400

Woven Installation by Studio 400

Woven Installation by Studio 400

Woven Installation by Studio 400

The short film ‘white: studio 400 book show installation’ by pablo sandoval showcases the construction of the dynamic sculpture.

July 09, 2015

Rain Room: it's raining, but you won't get wet

Rain Room is a hundred square metre field of falling water through which it is possible to walk, trusting that a path can be navigated, without being drenched in the process.

As you progress through the space the sound of water and a suggestion of moisture fill the air, before you are confronted by this carefully choreographed downpour that responds to your movements and presence.

The room is fitted with 3D cameras that sense your location in the room, and automatically turn off the water valves above your head, allowing you to walk through the downpour without getting wet.

July 03, 2015

Colored Pencil Sculptures by Jennifer Maestre

My sculptures were originally inspired by the form and function of the sea urchin. The spines of the urchin, so dangerous yet beautiful, serve as an explicit warning against contact. The alluring texture of the spines draws the touch in spite of the possible consequences. The tension unveiled, we feel push and pull, desire and repulsion. The sections of pencils present aspects of sharp and smooth for two very different textural and aesthetic experiences. Paradox and surprise are integral in my choice of materials. Quantities of industrially manufactured objects are used to create flexible forms reminiscent of the organic shapes of animals and nature. Pencils are common objects, here, these anonymous objects become the structure. There is true a fragility to the sometimes brutal aspect of the sculptures, vulnerability that is belied by the fearsome texture.

To make the pencil sculptures, I take hundreds of pencils, cut them into 1-inch sections, drill a hole in each section (to turn them into beads), sharpen them all and sew them together. The beading technique I rely on most is peyote stitch.

I'm inspired by animals, plants, other art, Ernst Haeckel, Odilon Redon, mythology. In fact, it isn't easy to specify particular sources of inspiration. Sometimes one sculpture will inspire the next, or maybe I'll make a mistake, and that will send me off in a new direction.

Colored Pencil Sculptures by Jennifer Maestre 1

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