Iconic space exploration relics in pink photoshots

When the first man-made satellite, Sputnik, was launched by the Soviet Union over 60 years ago, it’s hard to imagine its designers and engineers, in their pursuit of technological achievement, were ever considerate of the beauty of what they were creating. This pioneering, beeping metal sphere would change the course of history, initiating the Space Race and prompting the creation of a host of extraordinary technological objects, such as the almost mouse-like Sputnik 3 satellite and the ‘saucepan-on-wheels’, Lunokhod lunar rover.

This series documents many of those objects, in celebration both of the achievements of the Soviet space program are Injected with a shock of hot pink for the installation cosmic Pop, all of which are iconic objects of that era, a vivid memorial to the conquerors of space ; featured in charming but brutal designs.

It is particularly notable how the designs of the Soviet program progressed: from the ‘bolt-on’ aesthetic of early Space Race technology to the increasingly homogeneous look of later years, many designs began to mirror, and copy those of their US counterparts.

 

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award-winning photographer Docubyte

Created by  visual designer James Ball , a pseudonym as the artist has chosen to remain anonymous. Most of his works fusses colour, subtle restorative manipulation and vintage and modern tech.

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award-winning photographer Docubyte
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award-winning photographer Docubyte
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award-winning photographer Docubyte

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award-winning photographer Docubyte

 

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award-winning photographer Docubyte
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award-winning photographer Docubyte

 

Dustin Yellin stunning visulas under layers of Bajillian glass

featuring series of paints resin artistic stories, behind thickly layered glass panels, painted or collaged with a riot of images that coalesce into shape-shifting narrative scenes, human figures, or isolated natural forms.

For Yellin, these projects are interconnected, as his description of Pioneer Works exemplifies:

“For me, it’s a sculpture. It’s just like you’re working in layers you’re seeing through, whether it’s layers of glass or layers of people, and eventually all those layers are in harmony and in unison to sort of make something like this possible.” Layers define Yellin’s practice.

Dustin Yellin is as known for his image-rich sculptures as he is for his entrepreneurship, reflected in his contemporary art hub, Pioneer Works, Brooklyn, his magazine of artist interviews, Intercourse, and his work in his own studio and running a (now closed) commercial gallery.

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City of Flowers! Cai Guo-Qiang creates daytime explosion for the city of Florence

City of Flowers in the Sky is inspired by Botticelli’s Renaissance masterpiece Primavera. In about ten minutes, using the sunlit sky as canvas, nearly 50,000 customized fabricated fireworks  shoot out smokes resembling thousands of flowers from the Renaissance. As a generous gift to Florence, cradle of the Renaissance, the explosion builds new memories in its name.

City of Flowers in the Sky begins with “Thunder”, and follows with six acts including “God of the West Wind and Goddess of the Land”, “The birth of Flora”, “Venus”, “Three Graces”, “Spiritual Garden” and “Red Lily”.

contemporary artist Cai Guo-Qiang  ignites the daytime explosion event City of Flowers in the Sky on Piazzale Michelangelo overlooking the city of Florence, the event was organized in collaboration with the municipality of Florence. It will also mark the opening of the solo exhibition Flora Commedia: Cai Guo-Qiang at the Uffizi, which will open its doors to the public on November 20th until February 17th 2019.

 

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Following the artist’s realization of the daytime explosion event Black Ceremony in Doha in 2011, to Elegy on the Huangpu River in Shanghai in 2014, City of Flowers in the Sky is his largest and most complex to date. The artist first drew hundreds of sketches to determine the effect of each product and every scene of the fireworks. A team from Liuyang, the Chinese town of fireworks, specifically developed and produced the explosives in accordance with the artist’s drawings, also generating the technical programming based on Cai’s sketches.

For City of Flowers in the Sky, Cai Guo-Qiang created a 24-meter color gunpowder artwork on handmade hemp paper in an attempt to evince the ambience and framework of the daytime firework in the gunpowder drawing, which in turn became the finale of the ten rooms of the solo exhibition Flora Commedia on view at the Uffizi. The project is realized in collaboration with two Italian local fireworks companies.

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the sky of Florence is suddenly filled with the roar of rolling “Thunder,” followed by a rush of violent, thrashing silver flashes and smoke colorful columns, as though “God of the West Wind and Goddess of the Land” were playfully resisting the temptation of the opposite sex, and finally merge into one harmony with the birth of Flora. In the following minutes, an upsurge of multicolor explosions covers the sky hundreds of meters above.

the viewer intuits that this is the appearance of Flora, Goddess of flowers and spring—bearing life, nurturing, and flourishing energy. Then colorful smoke spurts, and a large sheet of white cascading fireworks drifts gently downwards, 150 meters above the viewer. Black, white and red smoke weave and tumble to give way to the apparition of “Venus.” Large streaks of pure, white willow fireworks drift downward, interwoven with hints of pink and budding yellow—countless hanging threads—the “Three Graces,” paragons of Renaissance beauty. Immediately after follows the “Spiritual Garden” rendered by shooting smoke that resembles blossoms in white and black. At the finale, lusters of the city’s symbol, “Lily,” converge into a magnificent red cloud.

 

 

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Dutch- Iranian designer 9+ oversized wooden masks to question identity

The nine oversized masks investigate the nature of individualism. Fascinated by the relationship between image and authenticity, Siba designed a series of wooden masks entitled Persona. the open structure of the nine wearable sculptures covers only parts of the face, while leaving the rest unveiled. This form allows the masks to stimulate communication while simultaneously creating distance.

Depicting cultural identity through digital self promotion is a relatively new phenomenon, but it is through our selection of digital self portraits that we strive to find the ‘right’ balance between group identity and personal expression. With her series of nine masks, Siba reflects on the shifting relationship between authenticity and image, between the public and the private. Her masks question what kinds of ‘things’ we are as people in the digital age. The open structures of her architectonical designs allow an interplay of faces and facades. The masks are made out of 18mm thick balsa wood and consist of up to eleven CNC-milled elements that are arranged in a layered composition. The sculptural objects are finished with a light blue coating and measure up to 60 cm in height.

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The title Persona refers to the millennia-long practice of wearing physical and metaphorical masks. Derived from Latin, the term ‘persona’ was originally used to refer to a theatrical, wooden mask. Extending from these origins, it has taken on many different cultural and social meanings. Western psychiatry describes persona as the social face the individual presented to the world and C.G. Jung described it as “a kind of mask, designed on the one hand to make a definite impression upon others, and on the other to conceal the true nature of the individual”.

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Due in large part to social media, and the increasing communication and representation of ourselves through our faces, the 21st century can be described as the ‘era of the face’. The face has become a way to express cultural identity and, in the context of online social platforms, users extend this expression to the creation of a virtual persona.

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Siba Sahabi is a German-Iranian designer. She creates installations, sculptures, objects and films. through her work she explores and reconstructs the meaning of cultural identity. Siba is interested in how relationships around us determine who we are as individuals in our community, and how this ‘mould’ of our cultural identity changes when we are exposed to multiple cultures at the same time.

Siba translates her research on cultural identity into contemporary design through an interpretation of forms and concepts. She creates a wide range of centrepieces—from limited edition designs to large-scale installations and art in public space. Parallel to her artistic practice, she develops concepts and designs products for various labels such as Pols Potten and Rosenthal.

 

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Artist unveils intractive face for British tudor monarch

The Queen’s House, Greenwich has unveiled a major new installation ; using digital scans of Elizabeth’s portraits and the electrotype cast of her effigy, as well as descriptions by her contemporaries, the installation is a chillingly lifelike recreation of Elizabeth I.

Positioned directly opposite the Armada Portrait and suspended in isolation on surveillance mirror, the installation places both the aging and ageless Elizabeth in dialogue. Through this careful juxtaposition, explores the different sides of the queen, both real and imagined, and grapples with notions of mortality, the manipulation of truth, political propaganda and the extent to which female power is tied to appearance and youth.

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Commissioned by  acclaimed British mixed media artist, Mat Collishaw, “The  The Mask of Youth” , responds directly to one of the most important paintings in the Museum’s collection, the iconic and powerful Armada Portrait of Elizabeth I.

The Armada Portrait commemorates the most famous conflict of Elizabeth’s reign (1558–1603), the Spanish Armada’s failed attempt to invade England in July and August 1588. Despite being painted shortly after the invasion when the Queen was almost fifty-five, the painting depicts a woman who looks considerably younger. Inspired by this idealised image of the Tudor Queen, Collishaw has collaborated with leading special effects designers using cutting-edge technology to create a stand-alone animatronic mask which approximates Elizabeth’s appearance at the age of the portrait’s creation.

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Known for his fusion of technology and art, Collishaw brings Elizabeth back to life before her audience. By leaving the animatronics that facilitate her movements deliberately exposed at the back of her head, the artist suggests that behind Elizabeth’s public persona, her every movement was carefully controlled. Beneath the surface and behind her mask, she is busy making decisions and calculations to which no one else is privy.

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Inspired by historic art throughout his career, Collishaw has long been fascinated by the Armada Portrait and its function as a political statement that emphasises the sovereignty and ‘agelessness’ of a queen who in reality was middle aged, unmarried and heirless. Whilst Elizabeth’s portraits were designed to flatter, they also highlight her understanding of the fact that her public image could be used to suggest her power and authority. As a woman of intelligence, she used this tool to help overcome the cultural prejudices she faced due to her gender and to advertise her virtues, skills and competence as a female head of state.

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Mat Collishaw’s Mask of Youth is on display at the Queen’s House from 3 October 2018 – 3 February 2019.

Danish creative Johannes hangs cycles in a retail space to foster inspiration

High performance bicycles from Argon 18 are displayed in a futuristic retail experience that blends elements from the world of technology, engineering, mechanics and community. Here harmony exists between man, nature and machine. It is a space that fosters knowledge, learning and innovation and perhaps even more importantly, invites people to dream. In short, a modern monastery for the science of cycling.

The design concept draws its inspiration from the detailed engineering of a carbon fiber bicycle. It seeks to highlight the dreams and engineering that  the bicycles represent by juxtaposing the world of nature and science and the meeting between man and machine.

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The architectural design follows a tight grid system that is introduced throughout the building and perhaps is most noticeable in the interior design. This choice pays tribute to the precision of the products and ensures a modular and scalable retail solution for a global rollout.

Johannes trope 

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Florist recreates famous shoe brands with Flowers

featuring quite distinct sets of flora, the installation attempts to mimic the artificial offering it a functional form. The flowers are culled and adjusted to specific edges,  to  follow the curves and edges and form a perfectly ‘wearable , single pair of shoes.  Although his project featured original works, several of the shoes reproduced by this bio-mimic art form are facsimiles of known brands: Nike, puma et al. And several other, the artist has worked with through his projects.

the 10+ flora shoes were created by New York based florist, who cloaks his indentity to focus on his brand, :  which stretches the bondery of the otherwise fragile natural material, exploring floristry, sculpture, and design with an unprecedented style and an anonymous public persona. The installation/ display wears are to feature prominently in any interior as a souvenir,  filling up the space with it dazzling arrays of colors.

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Mr. Flower Fantastic “MFF” uses his self taught skill to bring an underrated art form to the forefront of pop culture and the world of visual art. raised in Queens, NY, his creative process was influenced by the flowers in his own home as well as flower gardens in his neighborhood environment. MFF’s defiance of not limiting himself to the local seasonal flowers that are not always in bloom are exemplified in his most recent works with tulips, roses, lilies, orchids carnations, and various variety of flowers from ,Turkey, the Middle East, Caribbean, Holland, North America and South America.

MFF’s desire to remain anonymous is his acceptance of the powerful universal gift of flowers to humanity, which he aims to give full presence in his creative art compositions.

“Flowers are said to be the memory knowledge of truth and every seed begins with a flower. Throughout history the exchange of flowers was designed to bring peace. With my art and the platform I have been given, thats exactly what I intend to do.”

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Romian artist caputures the interior of the violin in surreal ways.

Romanian acrylic illustrator,Adrian Borda forays in to the airy, dusty interiors of the violins to offer a sense into another world. His project is a visual representation of the power of music which transcends sounds and into a more physical reality.

The over ten images make use of filtered lighting, spaces and combining perfectly with the dusty coasting along the walls of the wooden enclave immerses the viewers in a world distinct from the notes, and tonesf the strings.

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