Her Majesty has worn blue on 29 per cent of all occasions in the last year – almost three times more than any other colour. Beige comes bottom with one per cent – equal with checked fabric.
LINK: www.dailymail.co.uk
LINK: www.yumyumlondon.com
Above: Breakdancing Jesus. Oil on Canvas 6’ x 4’
Inspired by a tiny newspaper photograph I found and kept many years ago, of a polish youth group breakdancing for the last pope. The completed painting is a construct based on a photo shoot I set up with a dancer friend of mine dressed as Jesus, and a found image of some Cardinals applauding the Pope in the Vatican.
LINK: www.cosmosarson.com
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LINK: www.kindredstudio.net
LINK: www.cortinafietsen.nl
Through the magnetic, playful, and charismatic nature of the RedBall the work is able to access the imagination embedded in all of us. On the surface, the experience seems to be about the ball itself as an object, but the true power of the project is what it can create for those who experience it. It opens a doorway to imagine what if? As RedBall travels around the world people approach me on the street with excited suggestions about where to put it in their city. In that moment the person is not a spectator but a participant in the act of imagination. I have witnessed it across continents, diverse age spans, cultures, and languages, always issuing an invitation. That invitation to engage, to collectively imagine, is the true essence of the RedBall Project. The larger arc of the project is how each city responds to that invitation and, over time, what the developing story reveals about our individual and cultural imagination.
LINK: www.behance.net/Ooli_Mos
LINK: www.anaserrano.com via http://my-diy.fr
LINK: www.iamesteso.com
LINK: www.penpencilstencil.com
Papering our rooms is still a rather nonsensitive business. We ignore the architectural preconditions. Windows, doors and switches tear holes in patterns that actualy ask for a continuity of unbroken surface. Later on, pictures and cupboards are dashed on top of it. So three layers compose the visual appearance of walls – without reacting on each other.
Our conception blurs the border between architectural wallstructure and applied interior decoration. The wallpaper is becoming a senstitive mediator. Contrary to traditional mural painting, we do not create individual objects of art but generate functions that are adapted to the particular infrastructure of a room.. Once the necessary data of the object is stored we can apply any pattern. The outcomes are wallpaper-templates that warp around every hole or discontinuance. Door, light switch, painting and wallpaper don’t bang together anymore, they flow into each other and create a unity – by crossing our usual perception of rooms, a rather bizarre one.
LINK: http://surrealien.de via www.designose.com
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Above: Daphne 1986 & 2011 Paris
I love old photos. I admit being a nosey photographer. As soon as I step into someone else’s house, I start sniffing for them. Most of us are fascinated by their retro look but to me, it’s imagining how people would feel and look like if they were to reenact them today… A few months ago, I decided to actually do this. So, with my camera, I started inviting people to go back to their future.
LINK: http://irinawerning.com
LINK: http://phomer.com
LINK: www.anacabaleiro.com
This is an ongoing series of constructed photographs rooted in the forest. These works, carried out in Surrey, Hampshire and Wales,involve site specific interventions in the landscape, ‘wrapping’ trees with white material to construct a visual relationship between tree, not-tree and the line of horizon according to the camera’s viewpoint.
LINK: www.zanderolsen.com via www.cuartoderecha.com
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Above: “Merry Melody”, 2011. Encre et acrylique sur papier Arches. 160 x 114 cm
