Some of the best, most thought-provoking art and design is best viewed from a variety of angles. In fact, the work of Brooklyn-based artist Michael Murphy relies on varying vantage points. Murphy’s large-scale, complex structures are profoundly awe-inspiring (these photos surely don’t do them justice, they are best viewed in person). His multi-layered, multi-dimensional sculptures consist of suspended objects that, when viewed from different perspectives, reveal something more. Murphy explains, “[my] large-scale works seek to dominate the viewer’s physical and mental space, captivating the critical thought process as one circles around the various entities that form a cohesive whole. Pieces initially experienced on a visually flat plane resonate with meaning upon closer inspection, opening up cerebral capacities to perpetual reconsideration. The mesmerizing effect of the varied angles and ingredients of [my] sculptures provoke thought, using aesthetic titillation as their gateway.” Murphy’s conceptual approach, paired with his calculated orchestration of these phenomenal installations, is a true marvel on a many levels. Wow.
Cubism, widely considered the most influential art movement of the 20th century, was pioneered by Picasso and Braque in the early 1900s. By definition, cubism is a style and movement in which perspective with a single viewpoint was abandoned and use was made of simple geometric shapes, interlocking planes, and even collage. Dutch artist Enno de Kroon takes this one step further, using the unique landscape of the universal egg carton to his advantage in what he calls “eggcubism”. de Kroon had always experimented with distortions of perspective, and he found that the egg carton as his canvas presented a new and unique challenge that forced him to approach painting in a new way. The challenge is not only limited to de Kroon as the creator, but the viewer’s perception is also challenged. de Kroon explains, “The waves of the egg cartons limit the viewer’s perception; they also make him aware of his positioning towards the image. The intentional limitation in subjective perception gives room for imagination and recall: the process of occlusion. By a fusion of direct and indirect perception conventional imagery is overtaken. At first sight this leads to a physical and mental incompleteness, that forces an integration which can only take place within the inner experience, apart from time and space. One could say that the complete image just emerges sublimated in the viewers mind. Gestalt psychology states that human perception aims for completeness. Perceptions are being added subconsciously. My eggcubist works evoke conscious and dynamic adding. The objects not only refer to themselves, they also refer to each other as a series.” In a digital age of augmented reality and immersive 3D experiences, de Kroon’s eggcubism pays homage to traditional cubism, with an interactive twist.
Via ennodekroon.nl and Flickr
It’s been a week now, and we’re still stimulated by our experience at Create Upstate (related posts here, here, here and here). One unexpectedly enlightening address, Anatomy of a Maker, was given by Dora Drimalas, Principal of San Francisco-based Hybrid Design. Drimalas, along with her husband Brian Flynn, is at the helm of this full-service creative agency. Not many firms can tout a client list as impressive as Hybrid’s: Nike, Disney, Apple, Microsoft, Sony and Yahoo, to name a few. One might assume with such corporate powerhouse clientele, the leadership at Hybrid would be solely focused on churning out work at a breakneck pace to meet countless and differing demands. While client needs are certain a priority at Hybrid, Drimalas and Flynn seem to have a distinct passion for the timeless craft of design. This creative spirit doesn’t necessarily oppose a frame of mind needed to manage corporate demands, but certainly bucks a stereotype. When global paper manufacturer Mohawk approached Hybrid a couple years ago to reevaluate their perspective on paper in an increasingly digital world, Drimalas and company drew from their personal enthusiasm, philosophy and high regard for the heritage of craftsmanship. With that partnership, Mohawk Maker Quarterly was born. It’s much more than an indulgent paper promotion, it’s a publication with real substance. Drimalas spoke to the content within the latest issue (No. 6) with great fervor, explaining that the relatively recent dominance and ephemeral nature of digital communication positions print communication, like many other time-honored aspects of art and culture, at an elevated level. With a swing of the cultural pendulum, printers and designers are once again craftspeople, reminiscent of the Arts and Crafts movement over a century ago. It’s what Drimalas referred to as Arts and Crafts 2.0. The morsals of food for thought that Drimalas posed are too numerous to mention here. We were inspired not only by the content of Drimalas’s discourse, but also by the flawless design and printing of the Maker publication. Contact your paper rep if you do not have one of these in your hands.
Via hybrid-design.com and mohawkconnects.com