Bite silverware

Saturday, September 3, 2011

‪Fever Ray 'When I Grow Up'‬‏

Friday, July 22, 2011

Kyung Woo Han

Thursday, July 21, 2011

Keith Lemley Luma


My work is about seeing the unseen – the invisible presence which exists in our minds and surrounds all objects, experiences, and memories. Having spent my childhood on a small ancestral farm amidst the beautiful, yet polluted environment and post-industrial decay of rural West Virginia, I developed a keen interest in being part of and observing natural systems, time and the process of life and death, and an aesthetic sensibility synthesizing the organic and the machine.

I focus on the quiescent potential of materials and environments to be more and different than how they are currently perceived and understood; fulfilling an innate desire to explore, discover, share, and think. Drawing attention to physiological systems of vision, thought, and memory, I am interested in making conspicuous our abbreviated and abstracted understanding of reality, time, and identity. Initially arousing involuntary attention through democratic formal means, the content of my work then enters the cognitive as one actively relates this experience with those already held in the mind as memory. At this juncture of feeling and thought meaning is produced. By delaying this process through reorganizing the fabric of the everyday into the unusual, a heightened sense of the present is felt. Ultimately, one walks away more self aware and delighted in everyday visual ephemera and the experience of being a living breathing being.

Keith Lemley Luma

Joseph Egan

London-based graphic designer Joseph Egan together with his colleagues from Chelsea College of Art & Design created this eye-deceiving anamorphic typography installation as part of the assessment for his Foundation Degree course.

Anamorphic Typography
An exploration of the potential and existing relationship between architecture and typography

This project evolved out of a brief we had set ourselves as part of the assessment for our Foundation Degree course at Chelsea College of Art & Design. From initially looking into the existing and possible relationship between graphic design and architecture we discovered the process of anamorphosis as used by the fine artist Felice Varini.

After researching and testing the process in our studio we began to search for an ideal architectural space within our college buildings to execute our installation in. When planning an anamorphic installation is it important to consider that to maximise the fracturing of the design, it is best to try and touch as many plains as possible. We eventually decided to carry out our installation in a corridor of our college (as shown in the images) using the long walls to maximise the distortion of the letterforms. All of our work is site specific and we spend as long as possible discussing a choosing the perfect architectural locations for our works.

We initially chose the phrase "It's more than just print" to challenge the conventional idea that graphic design can only be realised in 2 dimensions (a poster, business card or magazine etc). The phrase is also a comment on the technique as when viewed from the right viewpoint, the design looks as though it is flat on a 2D plain.

For our second installation we chose the phrase “it’s a point of view” as a comment on the process of anamorphosis where the design only becomes fully legible when viewed from a specific point of view. This piece was also a comment on the the subjective nature of good design, given it’s placement in our end of year exhibition featuring works by all of our peers.

Our work encourages the viewer to walk into and around typography, an immersive experience considering that their usual relationship with type would normally be realised on a two dimensional surface be it printed or computerised. Being able to appreciate it physically painted onto walls of buildings which the viewers are used to interacting with every day draws attention to the beauty of typography and at same time highlighting the architectural forms that it adorns.

Joseph Egan \ Behance


Katsuyo Aoki

Predictive Dream

Katsuyo Aoki was born in 1972 in Tokyo, JAPAN, he work principally with ceramics, incorporating various decorative styles, patterns, and symbolic forms.

Predictive Dream XV, 2010

Labylinrh, 2005.
Predictive Dream XXIV, 2011.

Predictive Dream

maniera Ⅰ, 2009

Predictive Dream


Currently, I use ceramics as my material in my method of expression, incorporating various decorative styles, patterns, and symbolic forms as my principal axis in creating my works.
The decorative styles and forms I allude to and incorporate in my works each contain a story based on historical backgrounds and ideas, myths, and allegories. Their existence in the present age makes us feel many things,; adoration, some sort of romantic emotions, a sense of unfruitfulness and languor from their excessiveness and vulgarity.
And on the other hand, they make us feel tranquility and awe that can almost be described as religious, as well as an image as an object of worship.
By citing such images, I feel I am able to express an - atmosphere- that is a part of the complex world in this age.
In fact, the several decorative styles and forms I cite simultaneously hold divine and vulgar meaning in the present age, having an irrational quality that contradict each other, which I feel express an important aspect in the contemporary age in which we live.
Also, the technique of ceramics has a tradition that has been a part of the history of decoration over a long time, and I feel the delicateness and fragile tension of the substantial material well express my concept.

Katsuyo Aoki \ Claudio's scrapbook


The Anatomical Sleeping Bag

Friday, June 3, 2011

Andrew Myers


Meet Andrew Myers, one of the most patient modern-day sculptors around. He starts with a base, plywood panel, and then places pages of a phone book on top. After that he draws out a face and pre-drills 8,000 to 10,000 holes, by hand.

(via adsertoris)