The monuments we build today are going to shift and change — just like we do. What I like about the Mandela sculpture (and what makes me uneasy about the World Trade Center pools), is that [South African artist Marco] Cianfanelli knows that we’re changelings, so his monument keeps asking us to shift position, to adjust, to rethink. The trip from jail to freedom (and back) is a provocative subject; it will keep people thinking for a long, long time.
Jeffry’s House. Emily Mannion & Thomas O’Brien. Irish Architecture Foundation competition. Donegal. Ireland. source : dezeen. photos (c) Carla Killeen, Emily Mannion & Thomas O’Brien
The project is based on a narrative created by the designers around the invented character of Jeffry – a young boy who represents “the lost child in all of us, the version of ourselves that we left behind to become adults.” The folly symbolises a magical place Jeffry might have played in as a boy. ( dezeen )
untitled drawing experiment 2014 (a drawing made by the touch of others) kevin townsend
72 pages (11” x 17”) were each buffed for 1 hour with graphite and bare hands, folded and stacked. (as seen here)
18 participants are given white cotton gloves and are allowed to touch, handle and engage the pages in any way they desire with the instruction that they are to return the pages to the stack and pile the gloves on the floor when they are done.
The resulting drawing is made on the gloves and is a record of the participants’ touch
The stacked pages are bundled (as they were left) with cotton twine
Pae White - Metafoil (2011) - Curtain design for the Oslo Opera House
"For the main stage curtain of the Oslo Opera House, the L.A.-based artist scanned images of crumpled aluminum foil and sent the scans through a computer numerically-controlled loom which transformed the pixels into a massive tapestry of cotton, wool, and polyester. Here’s what Pae had to say:
Metafoil takes advantage of the captive gaze of the audience, introducing a foil, a false reflection, an illusion of depth, a novel typography that disrupts expectation and challenges perception. My work has attempted to subvert the viewer’s expected relationship to an everyday object, nudging them off balance, encouraging a deeper look. My goal is to cause viewers to stop and consider the bits and pieces of our lives that are most often overlooked, perhaps suggesting a more comprehensive reconsideration of the world around us, even to ask ourselves: What is important to us? What are we seeing? What are we not seeing?”