Art, science, and whatever I find interesting.


Levi van Veluw

on Behance |  Facebook

In  the Veneer series, Van Veluw introduces wood as a material in his work. Using different types of wood for different works, Van Veluw bends this relatively rigid material to his will by applying it to a replica of his face. This results in a myriad of cracks and grooves that testify to a notable tension of material and form. Included in this series are two sculptures that play with the viewer’s sense of scale. Veneer III has a height of 150 cm, whereas Veneer IV is merely 12 cm tall.

In the photographic versions of these sculptures, Van Veluw utilises photography’s ability to frame its subject matter and manipulate the viewer into thinking both objects are the same size. Veneer IV has a seemingly rough mosaic texture, yet in reality its surface is very smooth. The viewer, however, unaware of the modest size of the work, is unable to make this distinction.

Natural transfers: This series of work originates from the idea of transforming the face through the use of a material that is already present, rather than using an external element. Simply applying hair to the contours of the head transforms the portrait and the associations conjured up by the materials themselves. Hair becomes a strange and macabre material with a claustrophobic effect, rather than an aspect of human beauty.

For the Light series, Van Veluw covered his head with strips of light-generating foil. Photographed in total darkness, the highly radiant bright blue light produced by this material, allows it to stand out like an autonomous object. The features of Van Veluw’s face have disappeared, only its shape remains discernible through the mass of light strips. Light becomes form and exists independently from its base, the original subject. This ‘invisibility’ of the human subject informs the formal qualities of these images.

Via: artnau

(via asylum-art)


Wooden Cityscapes Sculpted by James McNabb

Like other miniature cityscapes we’ve featured in the past, The City Series depicts tiny skyscrapers made out of unusual materials. But that’s where the likeness to other exhibits ends. McNabb describes his artistic process as “sketching with a band saw.” Each element of the exhibit displays intricate building-like forms shaped from woods of different light and dark tones. McNabb says his initial intent was not to build skylines, but individual wooden pieces which resembled tools or other strangely familiar objects. After he built nearly 250 of them in a day he noticed that they began to resemble a miniature city, and from there The City Series was born.


French Interactive Designer Filipe Vilas-Boas has created an awesome and beautiful way to turn peoples’ thoughts into shooting stars and constellations. Entitled Shooting Thoughts, Villas-Boas’ interactive art installation enables people to create their own unique constellations on the spectacular vaulted ceiling of Saint-Eustache Church in Paris, France.

Visitors create their constellations using their mobile phones by sending text messages to a certain number. The text messages are received by a computer program which translates them into instructions for a network of lasers mounted on the cathedral’s pillars. The lasers then project the patterns created by the software and, when certain beams of light align, a large cross is generate in the center of the ceiling.

Villas-Boas says, “Like all of us, each star finds its place at its own speed with its individual trajectory.”

Click here for a brief video demonstration of Shooting Thoughts.

[via designboom and the Daily Mail]

"People love Hubble images. It tells them where they came from. It tells them where they’re going.”


Jim Lambie

(sculpture David Batchelor)

James “Jim” Lambie is a contemporary visual artist, and was shortlisted for the 2005 Turner Prize with an installation called Mental Oyster. Jim Lambie graduated from the Glasgow School of Art with a Honors Bachelors of Arts degree.

The word “genius” is the nuclear weapon in the critic’s armoury. A lot of people think it should never be used. I used it a while ago and someone wrote to the Guardian complaining. I think they thought I was using it satirically - so rarely is this term employed and so dangerous is its aura.

Yet it has a venerable history. In Renaissance Europe the idea of the “genius” of the artist grew out of Neo-Platonic philosophy and the idea that creativity comes to the poet in a “fury”, a frenzy. From the start it identified artistic excellence with transports of mind. Albrecht Dürer may have been the first artist to see himself as a “genius”, portraying himself as a Christ-like messianic figure. Anyway I know a genius when I see one and the Glasgow artist Jim Lambie is a genius.
Text : The Guardian

(via asylum-art)


Tjep. creates Bronze Age

This skeletal furniture by Dutch design studio Tjep. is made from bronze in an effort to create a collection of objects “totally opposite to the technology-driven trends” in design

Led by studio founder Frank Tjepkema, Tjep. designed a series of spindly hand-crafted furniture pieces in bronze; “the material that represents the dawn of civilisation”.

(via asylum-art)