Fluid Art on a wooden Tray Table made with Pouring-Fluid

Fluid painting on a small tray table. The tray table is decorated with Pouring-Fluid mixed with craft paint and painted with craft paint.

1. Cover the edge with a narrow strip of masking tape. Pull the masking tape tight and push it onto the edge, ensuring that the paint won't seep underneath the masking tape. Cover around and underneath the base using a wider strip of masking tape.

2. Apply a generous coat of Pouring-Fluid onto the surface of the table and edge using a spatula or a brush to make the paint run smoothly.

3. Mix the Pouring-Fluid with craft paint in a ratio of 1:1. The paint must be very runny. The colour strength won't be diluted when it's mixed with Pouring-Fluid. Pour the first colour around the edge.

4. Immediately pour the second colour in a thinner line.

6. Lift the tray upright and turn it to mix the paint on the inside edge.

7. Pour the first colouronto the inside base of the tray.

8. Pour the second colour on top using a much smaller amount.

9. Lift the tray and turn it so that the colours run into eachother, making a marble pattern. Turn in all directions. The paint must cover the entire surface.

10. Turn the tray upside down to pour off excess paint.

11. Carefully remove the masking tape.

12. Cover the table legs with masking tape 20 cm from the top. Paint using undiluted white craft paint. Preferably apply two coats.

13. Paint the bottom of the table and screw on the legs. Carefully paint the edges. A TIP: the wooden grain rises when it's being painted. Sand between coats for a smooth finish.

Landscape photographs by Wang Wusheng

Wang Wusheng’s 汪芜生 landscape photographs offer a timeless journey through sacred mountains, such as the Mount Huang also known as the Yellow Mountains. Located in Anhui province in northern China, this mountain range famous for its steep peaks has been standing at the centre of Wang’s works for over four decades. When he climbed for the first time the mountain in 1974, he felt a strong feeling that he described as the following: “Far from earth, yet at the heart of the universe. My mind had never been so wide open before. For five to six hours I stayed on the mountain, forgetting all my troubles. In the silence, there was a kind of sound. That is the source of my inspiration.”

Wang’s photographs plunge the viewers into scenic views of crab like pine trees and sea of clouds swirling around mountain peaks. “I’ve never been to Huangshan,” explained the photographer and curator Rong Rong, “but the first time I saw Wang Wusheng’s work, I was drawn in by his imagery – his skill of portraying Huangshan in photographs. It is not easy to use photography to express a place made famous by its association with traditional landscape painting.” Mount Huang has indeed been a recurrent subject matter in Chinese pictorial tradition for centuries, and Wang’s photographs connect with this long lineage.

More information: www.wangwusheng.com

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.”

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.

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

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.

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.

Spider Web Installation Made of Packaging Tape

Imagine Spiderman going completely insane and losing control of his web shooters and then look at this crazy art installation by Viennese/Croatian design collective For Use/Numen. Using nothing but nearly 100 pounds of packaging tape, For Use/Numen transforms abandoned attics, galleries and stock exchange buildings into a spider's cocoon paradise. The coolest part about, of course, is that the installations invites visitors to sit and relax, asking them to partake in the experience.

Staple Metropolises by Peter Root

In two projects entitled, Ephemicropolis (2010) and Low-Rise (2006), late artist Peter Root used stacks of staples broken into various sizes to create miniature metropolises.

For Ephemicropolis, Root used approximately 100,000 staples over a floor area of 20 x 10 feet (600 x 300 cm). The installation took a very steady hand and roughly 40 hours to create. You can see a timelapse of the build below. Low-Rise, which is a smaller overall installation took approximately 30 hours to build. You can also find a timelapse of the project below.

To see more of Peter’s artwork you can visit his website at peterroot.com