It’s something special when a photographer can take a typically dull object and turn it into something beautiful. That’s exactly what photographer Daniel Evans has done here with a series of photographs of everyday plastic bags. For me, Evans’ work is simple and uncomplicated but it’s also utterly brilliant.
Taking the bag and shooting it against a plain colored background, he manages to find beauty simply with the use of light and color. It’s almost magical how he turns something so mundane into something that looks so special. The use of pinks and powder blues are just perfect and the finished work is minimal but visually arresting. I love it!
As I mentioned in my previous post, I’m a big fan of Hvass&Hannibal, the Copenhagen based studio who always seem to have incredible new projects in their portfolio.
Swedish illustrator Martin Nicolausson is a graphic designer and illustrator with abstract sensibilities. He creates pieces made up of these really odd, colorful shapes that are usually shaded just so, giving them a depth and texture at please the eye. I actually think his self-written bio is a spot on way to describe to describe his approach.
I’ve been living in London for more than two months and I’m only now just starting to properly learn all of the city’s boroughs. Fortunately illustrator and designer Jack Noel is putting together an ongoing series of prints that celebrate the character and personality of each of these main central boroughs and they look fantastic!
Anothermountainman (Stanley Wong) is a Hong Kong artist, photographer and designer. He is best known for his redwhiteblue series which are installations, 3D pieces, or posters made out of the common red, white and blue plastic bags people in Hong Kong typically use to hold cargo. Coming from a background in advertising and television, Wong has become known as a fine artist over the past ten years and is now recognized as one of Hong Kong’s best.
Wong has all the hallmarks of a successful artist—shows in international galleries, numerous awards and inclusion in museum collections—yet he describes what he does as primarily being about connecting with people. In an interview with Time Out HK he says, “I’m attempting to communicate with the public through the platform of art. I see myself as both a social worker and a missionary; I don’t see myself as an artist.” To further these goals, he is involved in design education, gives guest lectures, and, as a scholar of Buddhism, seeks to share his hope for world harmony. What I think is apparent in his work without any prior knowledge of his motivations is a desire to record compelling aspects of society and to comment on human nature.
One of his projects that strikes me as particularly powerful is Lanwei. The first character of “lanwei” means broken and the second means tail. Together they mean unfinished; something that has fallen short of completion; started and couldn’t be brought to an end. It is a personal photography series that documents abandoned residences, offices, theme parks and other half-built projects across Asia. The properties he chose to photograph were not just incomplete architectural structures but came with stories of sudden disruption. Most of the commercial buildings were begun in the 1980’s when Asia hit an economic boom before companies realized that there wasn’t enough money to finish what they’d started. The amusement park in Beijing that features in a large portion of the series was abandoned when the child who it was built for died.
Lanwei itself almost became a story of lanwei. Wong had the concept in his head for 5 years before starting it in 2006. He then worked on it infrequently for the next 6 years and completed it in 2012 with a show at Blindspot galleries. He has said that the realization of this project came about shortly before the Chinese government started removing unused property. The evidence of incompletion was about to disappear before he could document its presence.
Much of his past work is on his website and is well worth exploring and diving into. Most projects come with a short poetic description written by Wong (originally in Cantonese with English translation). Besides having frequent exhibitions, I like that he also makes time to pursue ideas that interest him outside of his regular work. Wong most recently had an installation called Show Flat 04 at the Singapore Biennale.
New York based photographer Kevin Tadge has started a lovely, minimal photo series of still lifes taken at various museums. Oftentimes when you see photos of museum pieces its of the taxidermy animals, but Kevin has found the beauty in all kinds of objects ranging from rocks to flowers to pieces of ancient sculptures.
You can see the series by clicking here.
Tapbots’ Tweetbot and Flexibits’ Fantastical both rose to the top as alternatives to their bland, dysfunctional counterparts. Tweetbot‘s cutesy-machine design characteristic fronted far more capable power features in comparison to Twitter’s official app. Similarly, Fantastical ditched the stock calendar’s leather-ridden look for a simpler aesthetic to enhance its also powerful features.
Both are similar in that they payed heavy attention to user experience, and were rewarded when they became hailed as better alternatives to the apps they set out to replace. Also, both held out on their iOS 7 redesigns to maintain exactly that: perfecting their indisputable designs rather than immediate aesthetic upgrades. And as of last week, both have finally hit the store.
Tweetbot‘s redesign is everything fans had come to expect. The past look, though very to distinct, leaned heavily on the skeumorphic trend. In Tweetbot 3, Tapbots converted to a flattened scheme, but without sacrificing the charm. Gestures are still integral to its experience, as conversation views or Tweet data are available with basic swipes. Tapbots focused on the content with in-line image previews, great full-screen viewing that allows you to interact with the picture, and a Instragam-esque timeline that displays edge-to-edge the images attached to tweets.
Fantastical also simplified their past look with their update. In adding a few new features – such as reminders – and beefing up their already wonderful natural-language input, the app’s more powerful, yet feels lighter. It’s almost as if Fantastical was meant for the thin typography and bright colors of iOS 7. Its redesign is a balance of power and beauty.
So why include both apps in one post? Functionally, they have nothing to do with each other. Because Tweetbot and Fantastical, with updates having come around the same time, are examples of how to do an iOS 7 redesign right. They didn’t show up on day one, but they did maintain the charm and usability people fell in love with. Now they’re just polished up for the shiny new environment in which they now live.
Both Tweetbot 3 and Fantastical 2 are on sale. Grab ’em before the prices go up!
I just love these paintings by the Portland-based painter Meghan Howland. Many of her portraits carry a recurring bird motif and this adds a dreamlike and surreal quality to her images. Dark and mysterious, these painting feel fragile; as though we’re glimpsing a single fleeting moment. The birds add bright flashes of color that often contrast with the tenderness of her subjects. It’s difficult to read into the meaning behind this work but it’s hard not to fall for it’s mysterious beauty.
More work from Meaghan can be see on her website here. For those near Boston this month you can also see a selection of her work at the Seventeenth Annual Boston International Fine Art Show (21st-24th).
The Nakagin Capsule Tower, designed by Kisho Kurokawa, opened in March of 1972 as an ideal for architecture, allowing for a flexible capsule based system that would change and grow over time. Unfortunately the idea never really stuck and these capsules, meant to last around 25 years, are still in use to this day. Photographer Noritaka Minami has created a photo series titled 1972 which explores the Capsule Tower, giving insight into the decaying building.
This prototype for a new lifestyle for the 21st Century ultimately proved to be an exception rather than the rule. The Nakagin Capsule Tower in fact became the last of its kind completed in the world. Furthermore, the building has never undergone the process of regeneration during the 40 years of existence. None of the original capsules have ever been replaced, even though Kurokawa intended them to sustain a lifespan of only 25 years. As the capsules accumulate patina on their shells through the passage of time, they exist as a reminder of a future imagined to be possible at that moment in Japan as well as a future that never came.
Your eyes do not deceive you, those are tiny, people on a normal sized bench. Alright, that’s not true at all. French artist Benedetto Bufalino has created this proportionally correct but massively oversized bench which definitely messes with your senses.
Looking through his work you can see that he does some pretty out there projects, like turning a police vehicle into a chicken coop, skywriting a soccer field in the air, or turning a phone booth into a giant fish tank. This playfulness is truly what sets him apart as a unique, experiential designer. It’ll be cool to see what other offbeat pieces he comes up with in the future.
You can see more images of his oversized picnic table project on designboom by clicking here.