ArtandScience

artandsciencejournal:

Earthshine

Tomoko Konoike’s exhibition, Earthshine, incorporates elements of traditional Japanese culture with a contemporary style to create a dreamy, otherworldly dimension. The works exhibited include an animation, sculptures, drawings, photographs, and a traditional Japanese paper folding screen. Konoike drew inspiration from traditional sources such as ancient Japanese animistic cultures and Noh drama, and modern sources such as pop culture.

Perhaps one of the most fascinating pieces of Konoike’s exhibition is Donning Animal Skins and Braided Grass, an enchanting six-legged wolf covered in glass shards. Wolves, which are extinct in Japan, are a recurring figure in the artist’s work. The dazzling life-sized wolf’s crystalline body creates a beautiful and surreal landscape akin to a forest or perhaps outer space.

Earthshine is on display at Gallery Wendi Norris in San Francisco until October 26.

(Sources: Hi-Fructose/Blouin ArtInfo)

-Janine Truong


artandsciencejournal:

Looks Like Music


Yuri Suzuki’s
 Looks Like Music is an unconventional, musical installation which invites the public to exercise their creativity and understand music in a visual manner. Suzuki’s installation, which is based off his project Colour Chaser, emits music through little toy cars. However, the cars only emit sound once they come in contact with colour.

The cars follow circuits drawn in black marker by visitors. Along the circuits are colourful scribbles, also drawn by visitors. When the car encounters a colourful line intersecting the circuit, it reads the RGB data and translates it into sound.

There are five different cars, each one producing their own sound. These sounds include percussion, bass, the melody, drums, and an electronic noise. All together, the five cars become a symphony of music composed by designer Mark McKeague.

Watch a video of Looks Like Music in action here.

(Sources: Design Boom/Creative Applications)

-Janine Truong


artandsciencejournal:

Rogan Brown’s Paper Sculptures

Through his delicate paper sculptures, Rogan Brown expresses his fascination with the intricacy of the natural world. Drawing inspiration from scientific illustrations, Brown’s hand-cut pieces do not represent a single organism, but reflect themes found in nature. The patterns that Brown searches for exist in different scales, ranging from single cells to large geological formations.

Although each project is incredibly time consuming, Brown states that the amount of time spent on each sculpture is part of its meaning. Certainly, thinking about how much labour goes in to each piece leaves you in awe. The artist states that he chose paper as his medium because “it captures perfectly that mixture of delicacy and durability that for me characterizes the natural world” (Rogan Brown).

-Janine Truong


artandsciencejournal:

In Orbit

Last year, artist Tomás Saraceno stunned and captured audiences with his installation, On Space Time Foam, an interactive membranous structure suspended high above the ground.

This year, Saraceno has once again captured people’s imaginations with yet another floating dreamscape. The Argentinian artist’s latest creation, in orbit, is a vast interactive network of nets and spheres. The three levelled structure, built above the K21 Ständehaus’s piazza, sits more than 25 metres above the ground. Among the structure’s 2500 m2 of steel net are giant inflated spheres, measuring up to 8.5 metres in diameter. Despite the installation’s weightless appearance, in orbit’s net alone weighs 3000 kg and each sphere weighs 300 kg.

To create his spider web-like structure, Saraceno collaborated with engineers, architects, and arachnologists. The whole planning process spanned over three years.

For Saraceno, in orbit is a vast network of communication. As visitors explore the structure, their movements resonate through the net, allowing visitors to perceive space through vibrations, like spiders do.

Additionally, Saraceno’s work reminds him of “models of the universe that depict the forces of gravity and planetary bodies”.  He stated that, “[f]or me, the work visualizes the space-time continuum, the three-dimensional web of a spider, the ramifications of tissue in the brain, dark matter, or the structure of the universe. With ‘in orbit,’ proportions enter into new relationships; human bodies become planets, molecules, or social black holes” (Art Daily).

in orbit is expected to be on display at K21 Ständehaus until Fall 2014.

-Janine Truong


artandsciencejournal:

Pink Punch

Pink Punch was created by architects Nicholas Croft and Michaela MacLeod for the Jardins de Métis International Garden Festival 2013. The striking colour of the installation is meant to draw visitors into the forest as well as separate the installation from the wild.

The pink rope surrounding each tree was wrapped using traditional tree wrapping, a method used to protect trees. The latex extends from about 10 feet above the ground to a radius of 3 to 4 feet around the base of the tree. There, the fluorescent rubber serves as a public seating area.

You can visit Pink Punch at the Jardins de Métis/Redford Gardens in Grand-Métis, Quebec until September 29, 2013.

(Source: Visuall)

-Janine Truong


artandsciencejournal:

Baitogogo

Combining elements of Palais de Tokyo’s architecture with wood from São Paulo, Brazilian artisit Henrique Oliveira creates a grand Gordian Knot titled Baitogogo. Baitogogo features twisting wooden limbs bursting out of a rigid, white frame, bringing the room to life.

Using wood from construction site fences in Brazil, Oliveira’s sculpture reflects the fast development of favelas (shanty towns) in Brazil. Some of Oliveira’s inspiration was drawn from diseases such as tumours, as reflected in Baitogogo’s deeply knotted centre. The result is an impressive representation of “…the endemic and parasitic nature of these [favelas]” (Palais de Tokyo).

Baitogogo is on display at Palais de Tokyo in Paris until September 9th 2013.

Watch a video of Baitogogo’s construction here.

(Sources: Palais de Tokyo/Complex Magazine/Frame Publishers)

-Janine Truong


artandsciencejournal:

Suspended Dispositions

The current 3D printing process is unforgiving because it does not allow for sudden design changes or corrections. Once a layer has been printed and set, it is not easy to go back and make changes. However, NSTRMNT, a design initiative founded by Brian Harms, introduced a method of 3D printing that requires no support structures and allows users to undo any errors. Using UV-curing resins and a gel medium, the printing process called Suspended Dispositions enables people to manipulate their structures as they are being printed.

The printer created by NSTRMNT has a robotic arm with a fine needle-like print head. The printer’s movements are vector based, enabling it to print in a three dimensional plane. The resin is printed and suspended in a gel medium, removing the need for support structures. Since the resin only hardens once exposed to UV light, designers are able to alter their work before it is complete. Unlike traditional 3D printing, Suspended Dispositions does not require each layer to dry before adding the next, making the process faster than traditional printing. Once the printing is complete, the gel can be reused.

Although Suspended Dispositions is not the first support-free 3D printing project (check out Mataerial) the innovative project is a great contribution to the art of 3D printing.

Watch a video of the printing process here.

(Sources: Wired/Fast Company)

-Janine Truong


artandsciencejournal:

Unwoven Light

Soo Sunny Park’s Unwoven Light, a large structure of flowing metal and plexiglass, mesmerizes and transports its viewers into dreamy, shimmering realm. The installation consists of 37 parts, each one made from iridescent pieces of plexiglass and chain link fencing. Although chain fences typically appear very industrial, the fencing in Park’s piece has a lively, natural quality to it.

Park was inspired to explore the rigid yet porous quality of chain links after spotting a styrofoam cup stuck in a fence. The artist was also interested in how light can affect the appearance of a room. The sculpture, part of Park’s continuous exploration of light, is meant to capture light and make it visible in the form of brightly coloured reflections.

Unwoven Light is on display at the Rice University Art Gallery until August 30.

-Janine Truong


artandsciencejournal:

Reconnected


To commemorate the 400th anniversary of the Pendle Witch Trials, artist Philippe Handford connected illegally felled trees together along the 2012 Pendle Sculpture Trail. His sculpture, Reconnected 1, features a tree trunk joined with its stump with a smoothly curving metal spine and slices of wood. Reconnected 2 consists of four tree stumps. The stumps are joined in pairs to create two crossing arches. Like the accused “witches” of the Pendle Witch Trials, the trees used in Handford’s sculptures were irresponsibly executed. Handford’s pieces were inspired by the location and were designed to look as if they are falling.

Hadford is one among the four artists who were asked to create pieces for the trail. The other artists include Sarah McDade, Steve Blaylock, and Martyn Bednarczuk.

-Janine Truong

Sources: (Laughing Squid/Kuriositas/My Modern Met)


artandsciencejournal:

Your waste of time: Icelandic Glacier in New York
To give people an up-close and personal experience with the effects of climate change, Danish-Icelandic artist Olafur Eliasson has brought chunks of glacial ice from Iceland to New York.
Eliasson’s display, titled Your waste of time, is made up of pieces of ice that have fallen from Iceland’s largest glacier, Vatnajökull. The ice chunks chosen are estimated to be about 800 years old.
The purpose behind Olafur’s exhibition is to bring people closer to the effects of climate change. Eliasson believes people are not in touch with the effects of climate change because they cannot see it for themselves. Thus, by bringing broken off pieces of glacier to New York, Eliasson hopes to connect people to the changes on our planet.
These chunks of ancient ice are currently on display at MoMA PS1’s EXPO 1:New York exhibit where they are being kept in a refrigerated room. Despite the display’s theme of environmental awareness, critics point out that it requires a great deal of energy to transport and preserve the ice. Regardless, the fragments of the Vatnajökull glacier represent the consequence of our ever-changing world.
The pieces of ice will be on display until September. Then, the fragments of glacier will do what they would have done naturally: melt.

-Janine TruongSource: (National Geographic) View Larger

artandsciencejournal:

Your waste of time: Icelandic Glacier in New York

To give people an up-close and personal experience with the effects of climate change, Danish-Icelandic artist Olafur Eliasson has brought chunks of glacial ice from Iceland to New York.

Eliasson’s display, titled Your waste of time, is made up of pieces of ice that have fallen from Iceland’s largest glacier, Vatnajökull. The ice chunks chosen are estimated to be about 800 years old.

The purpose behind Olafur’s exhibition is to bring people closer to the effects of climate change. Eliasson believes people are not in touch with the effects of climate change because they cannot see it for themselves. Thus, by bringing broken off pieces of glacier to New York, Eliasson hopes to connect people to the changes on our planet.

These chunks of ancient ice are currently on display at MoMA PS1’s EXPO 1:New York exhibit where they are being kept in a refrigerated room. Despite the display’s theme of environmental awareness, critics point out that it requires a great deal of energy to transport and preserve the ice. Regardless, the fragments of the Vatnajökull glacier represent the consequence of our ever-changing world.

The pieces of ice will be on display until September. Then, the fragments of glacier will do what they would have done naturally: melt.

-Janine Truong

Source: (National Geographic)