Showing posts tagged: Sculpture

  • Carpet Pattern Skyscraper Sculptures by Babak Golkar via Designboom
the carpet skyscraper works of iranian artist babak golkar draw a relationship between the two dimensional and three dimensional, architecture and art, and ultimately - the associations with the much-debated tension between east and west. through extruding the elaborate ornamental patterning of nomadic persian carpets, the pieces generate a dynamic visual and conceptual reflection on existent cultural barriers.they do not only reference the erected symbols of western patriotism, they also bring attention to the emerging megapolis’ and the advance of oil powered arab countries.
  • Carpet Pattern Skyscraper Sculptures by Babak Golkar via Designboom
the carpet skyscraper works of iranian artist babak golkar draw a relationship between the two dimensional and three dimensional, architecture and art, and ultimately - the associations with the much-debated tension between east and west. through extruding the elaborate ornamental patterning of nomadic persian carpets, the pieces generate a dynamic visual and conceptual reflection on existent cultural barriers.they do not only reference the erected symbols of western patriotism, they also bring attention to the emerging megapolis’ and the advance of oil powered arab countries.
  • Carpet Pattern Skyscraper Sculptures by Babak Golkar via Designboom
the carpet skyscraper works of iranian artist babak golkar draw a relationship between the two dimensional and three dimensional, architecture and art, and ultimately - the associations with the much-debated tension between east and west. through extruding the elaborate ornamental patterning of nomadic persian carpets, the pieces generate a dynamic visual and conceptual reflection on existent cultural barriers.they do not only reference the erected symbols of western patriotism, they also bring attention to the emerging megapolis’ and the advance of oil powered arab countries.
  • Carpet Pattern Skyscraper Sculptures by Babak Golkar via Designboom
the carpet skyscraper works of iranian artist babak golkar draw a relationship between the two dimensional and three dimensional, architecture and art, and ultimately - the associations with the much-debated tension between east and west. through extruding the elaborate ornamental patterning of nomadic persian carpets, the pieces generate a dynamic visual and conceptual reflection on existent cultural barriers.they do not only reference the erected symbols of western patriotism, they also bring attention to the emerging megapolis’ and the advance of oil powered arab countries.

Carpet Pattern Skyscraper Sculptures by Babak Golkar via Designboom

the carpet skyscraper works of iranian artist babak golkar draw a relationship between the two dimensional and three dimensional, architecture and art, and ultimately - the associations with the much-debated tension between east and west. through extruding the elaborate ornamental patterning of nomadic persian carpets, the pieces generate a dynamic visual and conceptual reflection on existent cultural barriers.they do not only reference the erected symbols of western patriotism, they also bring attention to the emerging megapolis’ and the advance of oil powered arab countries.

  • Erwin Wurm kicks, punches and steps on his architectural clay sculptures via Designboom
austrian artist erwin wurm's latest body of work on show at galerie thaddaeus ropac in pantin, france celebrates playful destruction in an exhibition titled ’wittgensteinian grammar of physical education’. within the exhibition space are smatterings of clay models denoting existing buildings of european and american architecture - all malformed from the artist having punched, crushed and kicked the works with his own body weight.
 these traces of destruction are frozen through castings in bronze, acrylic or even polyester, and embellished with silver or gold-plating. some of the buildings are well known, others anonymous and some chosen for personal reasons, the arhcitecture spans prisons, warehouses, psychiatric clinics, bunkers, and even a house that once belonged to his ex-wife. the narrenturm (madhouse tower) in vienna is marked by footprints, san quentin state prison has been slashed open, and alcatraz dons a gaping hole - dug out by hand. the malformations give the pieces the signature amorphous character so iconic of wurm’s work.
  • Erwin Wurm kicks, punches and steps on his architectural clay sculptures via Designboom
austrian artist erwin wurm's latest body of work on show at galerie thaddaeus ropac in pantin, france celebrates playful destruction in an exhibition titled ’wittgensteinian grammar of physical education’. within the exhibition space are smatterings of clay models denoting existing buildings of european and american architecture - all malformed from the artist having punched, crushed and kicked the works with his own body weight.
 these traces of destruction are frozen through castings in bronze, acrylic or even polyester, and embellished with silver or gold-plating. some of the buildings are well known, others anonymous and some chosen for personal reasons, the arhcitecture spans prisons, warehouses, psychiatric clinics, bunkers, and even a house that once belonged to his ex-wife. the narrenturm (madhouse tower) in vienna is marked by footprints, san quentin state prison has been slashed open, and alcatraz dons a gaping hole - dug out by hand. the malformations give the pieces the signature amorphous character so iconic of wurm’s work.
  • Erwin Wurm kicks, punches and steps on his architectural clay sculptures via Designboom
austrian artist erwin wurm's latest body of work on show at galerie thaddaeus ropac in pantin, france celebrates playful destruction in an exhibition titled ’wittgensteinian grammar of physical education’. within the exhibition space are smatterings of clay models denoting existing buildings of european and american architecture - all malformed from the artist having punched, crushed and kicked the works with his own body weight.
 these traces of destruction are frozen through castings in bronze, acrylic or even polyester, and embellished with silver or gold-plating. some of the buildings are well known, others anonymous and some chosen for personal reasons, the arhcitecture spans prisons, warehouses, psychiatric clinics, bunkers, and even a house that once belonged to his ex-wife. the narrenturm (madhouse tower) in vienna is marked by footprints, san quentin state prison has been slashed open, and alcatraz dons a gaping hole - dug out by hand. the malformations give the pieces the signature amorphous character so iconic of wurm’s work.
  • Erwin Wurm kicks, punches and steps on his architectural clay sculptures via Designboom
austrian artist erwin wurm's latest body of work on show at galerie thaddaeus ropac in pantin, france celebrates playful destruction in an exhibition titled ’wittgensteinian grammar of physical education’. within the exhibition space are smatterings of clay models denoting existing buildings of european and american architecture - all malformed from the artist having punched, crushed and kicked the works with his own body weight.
 these traces of destruction are frozen through castings in bronze, acrylic or even polyester, and embellished with silver or gold-plating. some of the buildings are well known, others anonymous and some chosen for personal reasons, the arhcitecture spans prisons, warehouses, psychiatric clinics, bunkers, and even a house that once belonged to his ex-wife. the narrenturm (madhouse tower) in vienna is marked by footprints, san quentin state prison has been slashed open, and alcatraz dons a gaping hole - dug out by hand. the malformations give the pieces the signature amorphous character so iconic of wurm’s work.
  • Erwin Wurm kicks, punches and steps on his architectural clay sculptures via Designboom
austrian artist erwin wurm's latest body of work on show at galerie thaddaeus ropac in pantin, france celebrates playful destruction in an exhibition titled ’wittgensteinian grammar of physical education’. within the exhibition space are smatterings of clay models denoting existing buildings of european and american architecture - all malformed from the artist having punched, crushed and kicked the works with his own body weight.
 these traces of destruction are frozen through castings in bronze, acrylic or even polyester, and embellished with silver or gold-plating. some of the buildings are well known, others anonymous and some chosen for personal reasons, the arhcitecture spans prisons, warehouses, psychiatric clinics, bunkers, and even a house that once belonged to his ex-wife. the narrenturm (madhouse tower) in vienna is marked by footprints, san quentin state prison has been slashed open, and alcatraz dons a gaping hole - dug out by hand. the malformations give the pieces the signature amorphous character so iconic of wurm’s work.

Erwin Wurm kicks, punches and steps on his architectural clay sculptures via Designboom

austrian artist erwin wurm's latest body of work on show at galerie thaddaeus ropac in pantin, france celebrates playful destruction in an exhibition titled ’wittgensteinian grammar of physical education’. within the exhibition space are smatterings of clay models denoting existing buildings of european and american architecture - all malformed from the artist having punched, crushed and kicked the works with his own body weight.

 these traces of destruction are frozen through castings in bronze, acrylic or even polyester, and embellished with silver or gold-plating. some of the buildings are well known, others anonymous and some chosen for personal reasons, the arhcitecture spans prisons, warehouses, psychiatric clinics, bunkers, and even a house that once belonged to his ex-wife. the narrenturm (madhouse tower) in vienna is marked by footprints, san quentin state prison has been slashed open, and alcatraz dons a gaping hole - dug out by hand. the malformations give the pieces the signature amorphous character so iconic of wurm’s work.

  • Giant Labrador Sculpture Marks Its Territory on a Museum
A 28-foot-tall sculpture of a black Labrador relieving itself is currently installed on the side of the Orange County Museum of Art (OCMA) in Newport Beach, California. The installation, known simply as Bad Dog, is a new outdoor piece by artist Richard Jackson that is claiming its temporary territory throughout the run of the 74-year-old artist’s first retrospective exhibit titledRichard Jackson: Ain’t Painting a Pain.
The sculpture of the giant naughty pup leaving its golden mark on the building is made of 52 digitally cut pieces of fiber glass and composite materials that were assembled on-site. Once the structure was intact, Jackson entered the sizable sculpture with a bucket of yellow paint to be splattered on the wall. Now, the mechanized sculpture squirts a stream of yellow paint on its own. It is one of Jackson’s many “painting machines” that excretes pigments in an unusually creative fashion.
  • Giant Labrador Sculpture Marks Its Territory on a Museum
A 28-foot-tall sculpture of a black Labrador relieving itself is currently installed on the side of the Orange County Museum of Art (OCMA) in Newport Beach, California. The installation, known simply as Bad Dog, is a new outdoor piece by artist Richard Jackson that is claiming its temporary territory throughout the run of the 74-year-old artist’s first retrospective exhibit titledRichard Jackson: Ain’t Painting a Pain.
The sculpture of the giant naughty pup leaving its golden mark on the building is made of 52 digitally cut pieces of fiber glass and composite materials that were assembled on-site. Once the structure was intact, Jackson entered the sizable sculpture with a bucket of yellow paint to be splattered on the wall. Now, the mechanized sculpture squirts a stream of yellow paint on its own. It is one of Jackson’s many “painting machines” that excretes pigments in an unusually creative fashion.
  • Giant Labrador Sculpture Marks Its Territory on a Museum
A 28-foot-tall sculpture of a black Labrador relieving itself is currently installed on the side of the Orange County Museum of Art (OCMA) in Newport Beach, California. The installation, known simply as Bad Dog, is a new outdoor piece by artist Richard Jackson that is claiming its temporary territory throughout the run of the 74-year-old artist’s first retrospective exhibit titledRichard Jackson: Ain’t Painting a Pain.
The sculpture of the giant naughty pup leaving its golden mark on the building is made of 52 digitally cut pieces of fiber glass and composite materials that were assembled on-site. Once the structure was intact, Jackson entered the sizable sculpture with a bucket of yellow paint to be splattered on the wall. Now, the mechanized sculpture squirts a stream of yellow paint on its own. It is one of Jackson’s many “painting machines” that excretes pigments in an unusually creative fashion.

Giant Labrador Sculpture Marks Its Territory on a Museum

A 28-foot-tall sculpture of a black Labrador relieving itself is currently installed on the side of the Orange County Museum of Art (OCMA) in Newport Beach, California. The installation, known simply as Bad Dog, is a new outdoor piece by artist Richard Jackson that is claiming its temporary territory throughout the run of the 74-year-old artist’s first retrospective exhibit titledRichard Jackson: Ain’t Painting a Pain.

The sculpture of the giant naughty pup leaving its golden mark on the building is made of 52 digitally cut pieces of fiber glass and composite materials that were assembled on-site. Once the structure was intact, Jackson entered the sizable sculpture with a bucket of yellow paint to be splattered on the wall. Now, the mechanized sculpture squirts a stream of yellow paint on its own. It is one of Jackson’s many “painting machines” that excretes pigments in an unusually creative fashion.

  • Words Become Dancing Sculptures by Ebon Heath
Ebon Heath is a talented wordsmith, but not by the typical definition. The master of words creates laser-cut sculptures that bring life to letters that are otherwise stagnant on a page. Living and working between Brooklyn, Bali, and Berlin, the graphic designer and art director is also well versed in sculptures, mobiles, and photography. His typography sculptures are a magical transformation of the written word into what he describes as a “new language of physical type.” He liberates the letters from the printed page and gives them a three-dimensional existence with which viewers can interact.
To develop each piece, Heath takes concepts of typography and body language and fuses the two together, creating an artwork in which words and bodies live and exist in the same space. His intentions are to create a visual experience for the viewer in which the typography and the natural motions combine to tell the same expressive story. Although he developed the original concept, Heath doesn’t create these pieces on his own. He depends on a team of collaborators to help make his vision a reality, including dancers and choreographers who identify the natural body movements and curves that become the shape of the sculptures, and mechanical engineers and fabricators who develop and build the actual structures. Heath says, “I want our typography to jump, scream, whisper, and dance, versus lay flat, dead and dormant, to be used and discarded with no concern for its intricate beauty of form, function, and meaning.”
  • Words Become Dancing Sculptures by Ebon Heath
Ebon Heath is a talented wordsmith, but not by the typical definition. The master of words creates laser-cut sculptures that bring life to letters that are otherwise stagnant on a page. Living and working between Brooklyn, Bali, and Berlin, the graphic designer and art director is also well versed in sculptures, mobiles, and photography. His typography sculptures are a magical transformation of the written word into what he describes as a “new language of physical type.” He liberates the letters from the printed page and gives them a three-dimensional existence with which viewers can interact.
To develop each piece, Heath takes concepts of typography and body language and fuses the two together, creating an artwork in which words and bodies live and exist in the same space. His intentions are to create a visual experience for the viewer in which the typography and the natural motions combine to tell the same expressive story. Although he developed the original concept, Heath doesn’t create these pieces on his own. He depends on a team of collaborators to help make his vision a reality, including dancers and choreographers who identify the natural body movements and curves that become the shape of the sculptures, and mechanical engineers and fabricators who develop and build the actual structures. Heath says, “I want our typography to jump, scream, whisper, and dance, versus lay flat, dead and dormant, to be used and discarded with no concern for its intricate beauty of form, function, and meaning.”
  • Words Become Dancing Sculptures by Ebon Heath
Ebon Heath is a talented wordsmith, but not by the typical definition. The master of words creates laser-cut sculptures that bring life to letters that are otherwise stagnant on a page. Living and working between Brooklyn, Bali, and Berlin, the graphic designer and art director is also well versed in sculptures, mobiles, and photography. His typography sculptures are a magical transformation of the written word into what he describes as a “new language of physical type.” He liberates the letters from the printed page and gives them a three-dimensional existence with which viewers can interact.
To develop each piece, Heath takes concepts of typography and body language and fuses the two together, creating an artwork in which words and bodies live and exist in the same space. His intentions are to create a visual experience for the viewer in which the typography and the natural motions combine to tell the same expressive story. Although he developed the original concept, Heath doesn’t create these pieces on his own. He depends on a team of collaborators to help make his vision a reality, including dancers and choreographers who identify the natural body movements and curves that become the shape of the sculptures, and mechanical engineers and fabricators who develop and build the actual structures. Heath says, “I want our typography to jump, scream, whisper, and dance, versus lay flat, dead and dormant, to be used and discarded with no concern for its intricate beauty of form, function, and meaning.”
  • Words Become Dancing Sculptures by Ebon Heath
Ebon Heath is a talented wordsmith, but not by the typical definition. The master of words creates laser-cut sculptures that bring life to letters that are otherwise stagnant on a page. Living and working between Brooklyn, Bali, and Berlin, the graphic designer and art director is also well versed in sculptures, mobiles, and photography. His typography sculptures are a magical transformation of the written word into what he describes as a “new language of physical type.” He liberates the letters from the printed page and gives them a three-dimensional existence with which viewers can interact.
To develop each piece, Heath takes concepts of typography and body language and fuses the two together, creating an artwork in which words and bodies live and exist in the same space. His intentions are to create a visual experience for the viewer in which the typography and the natural motions combine to tell the same expressive story. Although he developed the original concept, Heath doesn’t create these pieces on his own. He depends on a team of collaborators to help make his vision a reality, including dancers and choreographers who identify the natural body movements and curves that become the shape of the sculptures, and mechanical engineers and fabricators who develop and build the actual structures. Heath says, “I want our typography to jump, scream, whisper, and dance, versus lay flat, dead and dormant, to be used and discarded with no concern for its intricate beauty of form, function, and meaning.”

Words Become Dancing Sculptures by Ebon Heath

Ebon Heath is a talented wordsmith, but not by the typical definition. The master of words creates laser-cut sculptures that bring life to letters that are otherwise stagnant on a page. Living and working between Brooklyn, Bali, and Berlin, the graphic designer and art director is also well versed in sculptures, mobiles, and photography. His typography sculptures are a magical transformation of the written word into what he describes as a “new language of physical type.” He liberates the letters from the printed page and gives them a three-dimensional existence with which viewers can interact.

To develop each piece, Heath takes concepts of typography and body language and fuses the two together, creating an artwork in which words and bodies live and exist in the same space. His intentions are to create a visual experience for the viewer in which the typography and the natural motions combine to tell the same expressive story. Although he developed the original concept, Heath doesn’t create these pieces on his own. He depends on a team of collaborators to help make his vision a reality, including dancers and choreographers who identify the natural body movements and curves that become the shape of the sculptures, and mechanical engineers and fabricators who develop and build the actual structures. Heath says, “I want our typography to jump, scream, whisper, and dance, versus lay flat, dead and dormant, to be used and discarded with no concern for its intricate beauty of form, function, and meaning.”

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