New York based creative Hou de Sousa unveils glowing rainbow cubiod in Prismatic

Prismatic is a kaleidoscopic experience of light, color, and space that frames a myriad of perspectives. The piece is unique on all sides, encouraging the public to explore the exterior, as well as meander through its translucent “streets”. Iridescent cords weave between a light-weight steel lattice. Gaps between the cords provide transparency, while also producing a dynamic visual effect known as a moiré.

As visitors turn their gaze or walk about the space, patterns in the background and foreground continuously converge and de-laminate, resulting in the perception that static surfaces are somehow in motion.   

The project has been designed specifically for Georgetown Waterfront Park. The form and space of the sculpture is sub-divided by a juxtaposition of geometric and contextual factors. This design process occurs in three phases. First, a box is cellulated by prisms radiating from a central point, followed by the echoing of contextual features, such as the outline of the water fountain and existing pathways, as well as the Potomac River, which then split and spread the box apart. The result is a diverse array of apertures and perspectives, collectively focused on a central core, but shaped by one’s vantage point and relative position from within or outside the sculpture. 

The project was assembled in Brooklyn and designed to fit onto a single 46ft flatbed truck. The rebar lattices were welded together, painted, and then interwoven with iridescent cord. The result is a sturdy structure with an appealingly low ratio of weight to volume.


James Turrell explores light and space surreal installation

Visual artist James turrell’s fascination with light, and empty spaces inspires his work; are a series of clear, spectrum filled spaces— ‘almost like food’. Several of his installations are designed to test the limits of the human perception.


Nike savvas embellishes the gallery Of Australia with polystyrene

Atomic: full of love, full of wonder’ feature 50,000 multicolored polystyrene balls suspended inside Art Gallery of New South Wales is an installation by Australian artis

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Ernesto Neto hangs GaiaMotherTree installion in Zurich station

Suspended from several struts if the central itZurich, the 20-meters cascading net installation occupies the central atrium of the quite busy train station.

Crafted from mattrd cotton strips, the highline net tree  like webbings;  features uniquely colored hand-knotted connections, decorative spices filled tubbings and strongly laced support to allow commuters interact with the installation by sitting on it.


Commissioned by Fondation Beyeler, and brought to fruition by Brazilian artist, Ernesto Neto,  who drew his inspiration from working with native Indian tribes across the Amazon in south America. The monument which would be open until the end of July, 2018, draws richly from Neto’s work with the Huni Kuin, an indigenous community living in the Amazon region near the Brazilian border with Peru.

 GaiaMotherTree was entirely handcrafted and manually installed in the grand station. It would represent a meeting place for interaction and meditation, where to host a varied program of events with music, workshops and performances.

Orange Trump blimp flys over London’s parliament

A giant helium filled  balloon effigy of the President of the United states of America hovers over the house of commons,  earthed down by nipple retaining strings.  the Blimp is an oversize oval soft rubber balloon pumped with helium yellow haired with keys features which include:  a painted over safety pin , and over gesticulated mouth and a toy “blue phone”

The  6 m blimp depicts Mr Trump as an Orange toddle with his iPhone phone in hand — a reference to his frequent tweets. approved by the London mayor, and greenlited to fly during the Official  Uk visit the ‘Trumpbaby” took over $16,000 in crowd funded financial support to make.

The Orange blimp was created by UK designer Leo Murray , who seeks to use it as a tool to protest  the president’s policies. But it has gathered a lot of criticisms on ‘crossing the line’  and been too aggressive with the message it aim to pass across.



Ron Mueck ‘s detailing in a series of hyper-realistic sculptures

a series of hyper-realistic sculptures by Australian artist, Ron Mueck featured in the  Fondation Cartier  are quite surreal. lifelike human forms which mesmerism with their level of detailing and texture.  Several pieces of Mueck’s installation attempts to address distinct societal themes around immigration ( man in the boat) , motherhood ( pregnant) and depression (  Ron’s head). While there are the other ones which offer no theme , meaning  but mainly call for curiosity.

the underlining curiosity about them is the very minute mimicry of organic dermatology.  how they are open up with all the flaws, stretches and winkles of  their primary copy.  Mueck’s projects are characterized by how ”  hyper realistic” they look to the original eyes.  most are unsettling at best, and scary while others are soothing enough to admire.



Varying in scale from the gargantuan to the pint-sized, the reclusive Australian artist’s sculptures of men, women and children keep the viewer both enthralled and off-balance, unsure of what to expect around the next corner of the gallery or museum space.

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DLe4XszWAAAvdaOphoto credit : Ron Mueck

Ron Mueck, now working in the United Kingdom, was born in Melbourne, Australia. The son of German-born toy-makers, he grew up making creatures, puppets and costumes in his spare time, experimenting with materials and techniques.

He started his career as a model maker and puppeteer for children’s films (such as LabyrinthThe Storyteller and etc.). Later he was making photo-realistic props and animatronics for the advertising industry. In 1996 Mueck transitioned to fine art and in 1999 he was appointed as Associate Artist at the National Gallery, London.

8CD3itUXLfqCMQCKQJam_1082116434Mueck working on miniature piece.

mueck011photo credit:  Mueck  super surreal old man.

818ZKhI8LLPjY0UpeG9b_1082116318photo credit: Mueck in his work shop

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mueck041photo credit : Ron Mueck

ronmueck02photo credit : Ron Mueck

ronmueck04photo credit : Ron Mueck

ronmueck05photo credit : Ron Mueck( Old people at the beach )

100 Skulls by RON MUECK on display for Triennial

Inspired by the complex biological structure of the human skull – which the artist considers beautiful and extraordinary – Ron Mueck’s new work Mass, 2016–17, celebrates a form that links us as a species. the skulls measure about 5 feet in height and the installation weighs a total of 5.5 tons. each duly hand-crafted,and cast in resin.

Mass is also a sombre study of mortality, and comprising 100 individual human skulls it calls to mind iconic images of massed remains in the Paris catacombs as well as the documentation of contemporary human atrocities in Cambodia, Rwanda, Armenia and Iraq.  Bringing to live hyperrealistic sculptures on what remains long after the bodies have decayed.

ron-mueck-national-gallery-victoria-triennial-11Mueck had early success as part of the landmark 1997 exhibition Sensation: Young British Artists from the Saatchi Collection,

The skull has been a potent symbol within the art of virtually all cultures and religions, not least the Western history of art, including in Dutch still-life painting and the vanitas painting genre of the sixteenth and seventeenth centuries which served as a reminder of the transience of life.

the Australian artist Ron Mueck known for his hyperrealistic sculptures, unveiled his largest installation yet with Mass, a collection of 100 monumental hand-cast skulls. Commissioned specially for the National Gallery of Victoria’s International Triennial, the imposing and ominous skulls pour through the galleries, each skull artfully placed into a tumbling mass.

 “Mass intrudes into the 18th Century Galleries like a glacier inching across a landscape, crowding out the powdered, bewigged lords and ladies, a reminder of all our fates,” Mueck said.


To draw out and contextualise these resonances, this monumental work has been placed within the historical collection galleries of NGV International  in Melbourne in 1958, Mueck has been based in the United Kingdom since 1986. He has explored the possibilities of the human form, first as a special-effects worker creating photorealistic props and animatronics for the film and advertising industries (under pioneering puppeteer Jim Henson), and later as an artist.

Mass is just one of the pieces in the inaugural Triennial, which is hosting 100 artists from 32 countries and runs through April 15, 2018.









astrocyte living architecture systems is a dream state installation

Can architecture integrate living functions? How can we design kinetic, living architecture that engages with visitors during extended interactions and enhances human experience in an immersive environment? How do humans respond to these evolving interactions, in a process of mutual adaptation?

Can architecture integrate living functions? Could future buildings think, and care? The Living Architecture Systems Group brings together researchers and industry partners in a multidisciplinary research cluster dedicated to developing built environments with qualities that come close to life— environments that can move, respond, and learn, with metabolisms that can exchange and renew their environments, and which are adaptive and empathic towards their inhabitants.



Supported by Social Sciences and Humanities Research Council funding and contributions from numerous partners, LAS is focused on develop­ing innovative technologies, new critical aesthetics, and integrative design working methods, helping equip a new generation of designers with critical next-generation skills and critical perspectives for working with complex environments.

The research of LAS has the potential to change how we build by transform­ing the physical structures that support buildings and the technical systems that control them. Intelligent controls, machine learning, lightweight scaf­folds, kinetic mechanisms, and self-renewing synthetic biology systems are being integrated in prototypes, exploring how these different systems might be fully integrated into new generations of buildings. Specializations are in advanced structures, mechanisms, control systems, machine learning, human-machine interaction, synthetic biology, and psychological testing. The combined expertise of the group offers unique integrated design, prototyping and public demonstration facilities.



EDIT is a ten-day festival for design, innovation and technology in toronto and produced by design exchange, whose overarching theme for its inaugural edition is ‘prosperity for all’. a 150,000-square-foot abandoned factory is transformed into an ultramodern world where design, innovation and technology are the solutions to today’s grand challenges. held from september 28 to october 8 2017, the festival explores a world where crickets can combat global hunger, medical supplies are 3D-printed in outer space, drones deliver blood to remote communities, and shipping containers are the future of farming.






Milan’s San Paolo converso church welcomes orange tennis court

Untitled (plot for dialogue)  is a neo-orange tennis court installed in a 16th century church, in Lombardy, Italy. the art installation is  currently the centrepiece of the  Chiesa di San Paolo Converso   church   (built  for the convent of the Order of the Angeliche  and later abandoned )  and sits in an exhibition space, devoted to more modernist arts — now  headquarters of the architectural firm CLS Architetti.

Asad Raza exploration of inhabited space couple with social practices, between human and non-human beings, and objects is an inspiration for this piece, which frames the building perfectly blending well  with the baroque façade. And as a nod to ‘complementing contrast’ , and  the 16th century’s exploration of light and shadow, and dramatic intensity.  Asad  introduced flooring, lines, netting, racquets, iced jasmine tea, and coaches for a tennis-like game


re-purposing the  former minster , a place of singular interaction, into a lax area two-way exchange and recreation. Here he reorients the sport as a reflection on the importance of non-productive activities in a society focused on work. For Raza, the game serves as a method of absorbing energetic drives into symbolic but non-harmful practices.


Visitors to Untitled (plot for dialogue)become more than spectators—practising with the coaches, they inhabit their bodies in coordinated action. Players respond to each other through the medium of the ball and the plot of the court. The piece places the experience of play above purely visual appreciation, as the back-and-forth of tennis exchanges produces meditative beauty.



The church’s frescos, the work of Giulio and Antonio Campi, depict the conversion, baptism, miracles and martyrdom of Paul the Apostle. , Maria Callas , erected between 1549 and 1619 it was  reconsecrated after a decree by Napoleon. leading to its second life as a storage space until it was was renovated and became a concert hall.


Converso welcomes the public to intact wit the installation through the week; except sundays, offering  exhibitions and events for  Artists of different ages, places, and creative languages to interact and also invites them to come develop arts projects  which interact with the hanging space’s historical, architectural and symbolic features.


Prospective projects are featured on the stage, floating, in a monumental interior. No walls surround the stage. It is merely a flat surface. The exhibited projects themselves float as well. They never fully affirm themselves and must always contend with the church’s magniloquence.