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Visualizing the Beauty of Mathematics

In the above video you can see an equation, the visualization or blueprint of the equation in motion, and then the tangible object it represents. This shows that our world can be defined and examined, merely by combining numbers, symbols and concepts.

For non-mathematicians (or maths enthusiasts), equations appear daunting, let alone even considered for any aesthetic qualities. The project “Beauty of Mathematics” by Yann Pineill & Nicolas Lefaucheux, take these equations, and animate them to show their true image; that these equations depict movement, describe snowflakes, or create a masterpiece of computer technology. Just like we read artworks, equations are also meant to be interpreted for their meaning, but not everyone is trained to read equations. The project reads the equations for us, translates them if you will, and we are then able to relate a series of numbers and symbols to objects in our daily lives.

It is a wonderful way to begin the process of getting others interested in becoming versed in the language of mathematics. For, “mathematics, rightly viewed, possesses not only truth, but supreme beauty — a beauty cold and austere, without the gorgeous trappings of painting or music.” - Bertrand Russell

-Anna Paluch

(Source: artandsciencejournal.com)

yann pineillnicholas lefaucheuxthe beauty of mathematicsmathsmathematicsequationsanna paluchartscienceart and science journal
Flower ‘Bulbs’
Though designers make pieces that are commodities of everyday use, a lot of the functional pieces created by designers can still be considered ‘art’ in their own way.
German designer Miriam Aust of Aust Amelung created the “Vase & Leuchte” (2011) table lamp that functions as both a lamp and vase. The act of combining the element of light and plants into the design is like an experiment, giving the piece a laboratory aesthetic. The plants are placed in the main bowl structure with water, and the light bulb is protected by a glass structure, similar to a laboratory glass beaker, in the middle of the bowl. This allows for the light to travel through the plants, highlighting unique elements such as the vascular tissue of leaves or reflecting root patterns onto walls. You can order your very own “Vase & Leuchte” at the dua shop.
Japanese product designer Yuma Kuno has created a slightly similar piece, involving light bulbs as vases. In 2007, Japan’s Ministry of Environment asked companies to stop using inefficient incandescent light bulbs. Kuno saw a chance to use these obsolete objects and change their function to something useful; the bulbs can hold small flowers, and even the filament is used as a stem holder.
Whether highlighting the aesthetic biology of a plant or merely being used as a simple holder for one, both the works of Miriam Aust and Yuma Kuno are great design ideas!

-Anna Paluch
Flower ‘Bulbs’
Though designers make pieces that are commodities of everyday use, a lot of the functional pieces created by designers can still be considered ‘art’ in their own way.
German designer Miriam Aust of Aust Amelung created the “Vase & Leuchte” (2011) table lamp that functions as both a lamp and vase. The act of combining the element of light and plants into the design is like an experiment, giving the piece a laboratory aesthetic. The plants are placed in the main bowl structure with water, and the light bulb is protected by a glass structure, similar to a laboratory glass beaker, in the middle of the bowl. This allows for the light to travel through the plants, highlighting unique elements such as the vascular tissue of leaves or reflecting root patterns onto walls. You can order your very own “Vase & Leuchte” at the dua shop.
Japanese product designer Yuma Kuno has created a slightly similar piece, involving light bulbs as vases. In 2007, Japan’s Ministry of Environment asked companies to stop using inefficient incandescent light bulbs. Kuno saw a chance to use these obsolete objects and change their function to something useful; the bulbs can hold small flowers, and even the filament is used as a stem holder.
Whether highlighting the aesthetic biology of a plant or merely being used as a simple holder for one, both the works of Miriam Aust and Yuma Kuno are great design ideas!

-Anna Paluch
Flower ‘Bulbs’
Though designers make pieces that are commodities of everyday use, a lot of the functional pieces created by designers can still be considered ‘art’ in their own way.
German designer Miriam Aust of Aust Amelung created the “Vase & Leuchte” (2011) table lamp that functions as both a lamp and vase. The act of combining the element of light and plants into the design is like an experiment, giving the piece a laboratory aesthetic. The plants are placed in the main bowl structure with water, and the light bulb is protected by a glass structure, similar to a laboratory glass beaker, in the middle of the bowl. This allows for the light to travel through the plants, highlighting unique elements such as the vascular tissue of leaves or reflecting root patterns onto walls. You can order your very own “Vase & Leuchte” at the dua shop.
Japanese product designer Yuma Kuno has created a slightly similar piece, involving light bulbs as vases. In 2007, Japan’s Ministry of Environment asked companies to stop using inefficient incandescent light bulbs. Kuno saw a chance to use these obsolete objects and change their function to something useful; the bulbs can hold small flowers, and even the filament is used as a stem holder.
Whether highlighting the aesthetic biology of a plant or merely being used as a simple holder for one, both the works of Miriam Aust and Yuma Kuno are great design ideas!

-Anna Paluch
Flower ‘Bulbs’
Though designers make pieces that are commodities of everyday use, a lot of the functional pieces created by designers can still be considered ‘art’ in their own way.
German designer Miriam Aust of Aust Amelung created the “Vase & Leuchte” (2011) table lamp that functions as both a lamp and vase. The act of combining the element of light and plants into the design is like an experiment, giving the piece a laboratory aesthetic. The plants are placed in the main bowl structure with water, and the light bulb is protected by a glass structure, similar to a laboratory glass beaker, in the middle of the bowl. This allows for the light to travel through the plants, highlighting unique elements such as the vascular tissue of leaves or reflecting root patterns onto walls. You can order your very own “Vase & Leuchte” at the dua shop.
Japanese product designer Yuma Kuno has created a slightly similar piece, involving light bulbs as vases. In 2007, Japan’s Ministry of Environment asked companies to stop using inefficient incandescent light bulbs. Kuno saw a chance to use these obsolete objects and change their function to something useful; the bulbs can hold small flowers, and even the filament is used as a stem holder.
Whether highlighting the aesthetic biology of a plant or merely being used as a simple holder for one, both the works of Miriam Aust and Yuma Kuno are great design ideas!

-Anna Paluch

Flower ‘Bulbs’

Though designers make pieces that are commodities of everyday use, a lot of the functional pieces created by designers can still be considered ‘art’ in their own way.

German designer Miriam Aust of Aust Amelung created the “Vase & Leuchte” (2011) table lamp that functions as both a lamp and vase. The act of combining the element of light and plants into the design is like an experiment, giving the piece a laboratory aesthetic. The plants are placed in the main bowl structure with water, and the light bulb is protected by a glass structure, similar to a laboratory glass beaker, in the middle of the bowl. This allows for the light to travel through the plants, highlighting unique elements such as the vascular tissue of leaves or reflecting root patterns onto walls. You can order your very own “Vase & Leuchte” at the dua shop.

Japanese product designer Yuma Kuno has created a slightly similar piece, involving light bulbs as vases. In 2007, Japan’s Ministry of Environment asked companies to stop using inefficient incandescent light bulbs. Kuno saw a chance to use these obsolete objects and change their function to something useful; the bulbs can hold small flowers, and even the filament is used as a stem holder.

Whether highlighting the aesthetic biology of a plant or merely being used as a simple holder for one, both the works of Miriam Aust and Yuma Kuno are great design ideas!

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ yuma kuno miriam aust anna paluch art science art and science journal light bulb plants flowers Environment recycle
Art of the Lepidoptera
Moths and fabric are often two words that not many people like to see together, but artist Yumi Okita actually makes moths (and butterflies!) out of various pieces of cotton fabric, embroidered and painted on for detail, with fake fur accents. The fabric sculptures average about six inches in height and nine inches in width for butterflies, and four inches in height and ten inches in width for moths, creating slightly larger copies of the insect’s real life counterparts.
These moths and butterflies (belonging to the order of insects known as Lepidoptera) are great tools for admiring the detail in the insects’ scales on their wings, or designs on their bodies.
There is another artist though, whose practice is to go even more into detail, by creating watercolour paintings of butterfly and moth wings up close; so close, that you can see every detail in the scales. Artist Chelsea H-A even makes custom watercolours, based off of an individual’s favourite colours or favourite species of moth and butterfly, yet still staying true to the aesthetic of these insect’s wings.
A cool idea would be to display a sculpture of Yumi Okita’s with a corresponding watercolour of Chelsea H-A’s, which you can do yourself, as both artists sell their art on their respective Etsy stores!
Check out more of Yumi Okita’s work here.
And have a look at Chelsea H-A’s work here.
-Anna Paluch
Art of the Lepidoptera
Moths and fabric are often two words that not many people like to see together, but artist Yumi Okita actually makes moths (and butterflies!) out of various pieces of cotton fabric, embroidered and painted on for detail, with fake fur accents. The fabric sculptures average about six inches in height and nine inches in width for butterflies, and four inches in height and ten inches in width for moths, creating slightly larger copies of the insect’s real life counterparts.
These moths and butterflies (belonging to the order of insects known as Lepidoptera) are great tools for admiring the detail in the insects’ scales on their wings, or designs on their bodies.
There is another artist though, whose practice is to go even more into detail, by creating watercolour paintings of butterfly and moth wings up close; so close, that you can see every detail in the scales. Artist Chelsea H-A even makes custom watercolours, based off of an individual’s favourite colours or favourite species of moth and butterfly, yet still staying true to the aesthetic of these insect’s wings.
A cool idea would be to display a sculpture of Yumi Okita’s with a corresponding watercolour of Chelsea H-A’s, which you can do yourself, as both artists sell their art on their respective Etsy stores!
Check out more of Yumi Okita’s work here.
And have a look at Chelsea H-A’s work here.
-Anna Paluch
Art of the Lepidoptera
Moths and fabric are often two words that not many people like to see together, but artist Yumi Okita actually makes moths (and butterflies!) out of various pieces of cotton fabric, embroidered and painted on for detail, with fake fur accents. The fabric sculptures average about six inches in height and nine inches in width for butterflies, and four inches in height and ten inches in width for moths, creating slightly larger copies of the insect’s real life counterparts.
These moths and butterflies (belonging to the order of insects known as Lepidoptera) are great tools for admiring the detail in the insects’ scales on their wings, or designs on their bodies.
There is another artist though, whose practice is to go even more into detail, by creating watercolour paintings of butterfly and moth wings up close; so close, that you can see every detail in the scales. Artist Chelsea H-A even makes custom watercolours, based off of an individual’s favourite colours or favourite species of moth and butterfly, yet still staying true to the aesthetic of these insect’s wings.
A cool idea would be to display a sculpture of Yumi Okita’s with a corresponding watercolour of Chelsea H-A’s, which you can do yourself, as both artists sell their art on their respective Etsy stores!
Check out more of Yumi Okita’s work here.
And have a look at Chelsea H-A’s work here.
-Anna Paluch
Art of the Lepidoptera
Moths and fabric are often two words that not many people like to see together, but artist Yumi Okita actually makes moths (and butterflies!) out of various pieces of cotton fabric, embroidered and painted on for detail, with fake fur accents. The fabric sculptures average about six inches in height and nine inches in width for butterflies, and four inches in height and ten inches in width for moths, creating slightly larger copies of the insect’s real life counterparts.
These moths and butterflies (belonging to the order of insects known as Lepidoptera) are great tools for admiring the detail in the insects’ scales on their wings, or designs on their bodies.
There is another artist though, whose practice is to go even more into detail, by creating watercolour paintings of butterfly and moth wings up close; so close, that you can see every detail in the scales. Artist Chelsea H-A even makes custom watercolours, based off of an individual’s favourite colours or favourite species of moth and butterfly, yet still staying true to the aesthetic of these insect’s wings.
A cool idea would be to display a sculpture of Yumi Okita’s with a corresponding watercolour of Chelsea H-A’s, which you can do yourself, as both artists sell their art on their respective Etsy stores!
Check out more of Yumi Okita’s work here.
And have a look at Chelsea H-A’s work here.
-Anna Paluch

Art of the Lepidoptera

Moths and fabric are often two words that not many people like to see together, but artist Yumi Okita actually makes moths (and butterflies!) out of various pieces of cotton fabric, embroidered and painted on for detail, with fake fur accents. The fabric sculptures average about six inches in height and nine inches in width for butterflies, and four inches in height and ten inches in width for moths, creating slightly larger copies of the insect’s real life counterparts.

These moths and butterflies (belonging to the order of insects known as Lepidoptera) are great tools for admiring the detail in the insects’ scales on their wings, or designs on their bodies.

There is another artist though, whose practice is to go even more into detail, by creating watercolour paintings of butterfly and moth wings up close; so close, that you can see every detail in the scales. Artist Chelsea H-A even makes custom watercolours, based off of an individual’s favourite colours or favourite species of moth and butterfly, yet still staying true to the aesthetic of these insect’s wings.

A cool idea would be to display a sculpture of Yumi Okita’s with a corresponding watercolour of Chelsea H-A’s, which you can do yourself, as both artists sell their art on their respective Etsy stores!

Check out more of Yumi Okita’s work here.

And have a look at Chelsea H-A’s work here.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ Yumi Okita Chelsea H-A anna paluch butterfly moth butterflies moths fabric art watercolour lepidoptera art science art and science journal
Camila Carlow’s Eye Heart Spleen
When we look at human organs, sometimes their imagery can be off-putting (though fascinating!) but artist Camila Carlow uses our organs, at least pictures of them, to create her intricate Eye Heart Spleen series; human organs made from foraged plants.
The artist combines different plants, such as flowers and leaves, already themselves unique living organisms, to create one piece, one organ, of another living organism; the human. It is interesting to look at her series in regards to the place of humans in the world; how we pick flowers, tear down trees and stomp around in the grass, only to then have our bodies be consumed by the earth, covered by flowers, trees and grass. The plants sustain us, as either food or helping to create oxygen, just like our organs, and just like plants, we sometimes too forget to take care of our organs. As the artist states, “regardless of whether we fill ourselves with toxins or nourishing food, whether we exercise or not - our organs sustain us, working away effortlessly and unnoticed”. Both plants and organs are delicate structures, and both need to be taken care of, in order for them to take care of us.
To learn more about Camila Carlow’s work, you can visit her website, or if you would like to purchase one of her prints, they are available on Etsy.
-Anna Paluch
Camila Carlow’s Eye Heart Spleen
When we look at human organs, sometimes their imagery can be off-putting (though fascinating!) but artist Camila Carlow uses our organs, at least pictures of them, to create her intricate Eye Heart Spleen series; human organs made from foraged plants.
The artist combines different plants, such as flowers and leaves, already themselves unique living organisms, to create one piece, one organ, of another living organism; the human. It is interesting to look at her series in regards to the place of humans in the world; how we pick flowers, tear down trees and stomp around in the grass, only to then have our bodies be consumed by the earth, covered by flowers, trees and grass. The plants sustain us, as either food or helping to create oxygen, just like our organs, and just like plants, we sometimes too forget to take care of our organs. As the artist states, “regardless of whether we fill ourselves with toxins or nourishing food, whether we exercise or not - our organs sustain us, working away effortlessly and unnoticed”. Both plants and organs are delicate structures, and both need to be taken care of, in order for them to take care of us.
To learn more about Camila Carlow’s work, you can visit her website, or if you would like to purchase one of her prints, they are available on Etsy.
-Anna Paluch
Camila Carlow’s Eye Heart Spleen
When we look at human organs, sometimes their imagery can be off-putting (though fascinating!) but artist Camila Carlow uses our organs, at least pictures of them, to create her intricate Eye Heart Spleen series; human organs made from foraged plants.
The artist combines different plants, such as flowers and leaves, already themselves unique living organisms, to create one piece, one organ, of another living organism; the human. It is interesting to look at her series in regards to the place of humans in the world; how we pick flowers, tear down trees and stomp around in the grass, only to then have our bodies be consumed by the earth, covered by flowers, trees and grass. The plants sustain us, as either food or helping to create oxygen, just like our organs, and just like plants, we sometimes too forget to take care of our organs. As the artist states, “regardless of whether we fill ourselves with toxins or nourishing food, whether we exercise or not - our organs sustain us, working away effortlessly and unnoticed”. Both plants and organs are delicate structures, and both need to be taken care of, in order for them to take care of us.
To learn more about Camila Carlow’s work, you can visit her website, or if you would like to purchase one of her prints, they are available on Etsy.
-Anna Paluch

Camila Carlow’s Eye Heart Spleen

When we look at human organs, sometimes their imagery can be off-putting (though fascinating!) but artist Camila Carlow uses our organs, at least pictures of them, to create her intricate Eye Heart Spleen series; human organs made from foraged plants.

The artist combines different plants, such as flowers and leaves, already themselves unique living organisms, to create one piece, one organ, of another living organism; the human. It is interesting to look at her series in regards to the place of humans in the world; how we pick flowers, tear down trees and stomp around in the grass, only to then have our bodies be consumed by the earth, covered by flowers, trees and grass. The plants sustain us, as either food or helping to create oxygen, just like our organs, and just like plants, we sometimes too forget to take care of our organs. As the artist states, “regardless of whether we fill ourselves with toxins or nourishing food, whether we exercise or not - our organs sustain us, working away effortlessly and unnoticed”. Both plants and organs are delicate structures, and both need to be taken care of, in order for them to take care of us.

To learn more about Camila Carlow’s work, you can visit her website, or if you would like to purchase one of her prints, they are available on Etsy.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
/ camila carlow eye heart spleen anatomy botany flowers plants organs human organs human body art science art and science journal anna paluch
Light Up the Skies
When two artists with different aesthetic backgrounds collaborate, they often create stunning pieces, and the collaboration between artist’s Aaron Koblin and Janet Echelman is no exception.
Janet Echelman, who has been featured already on Art & Science Journal, creates fishnet-like aerial sculptures that look as if they were floating entities in the sky. The nets’ shapes are manipulated to form anything from funnels to winged creatures. Aaron Koblin is an artist and designer who focuses on data and digital technologies, how this information relates to cultural trends and how people react to changing technologies.
These artists collaborated together on March 15, 2014 at TED 2014 to create “Skies Painted with Unnumbered Sparks” outside the Vancouver Convention Centre where the TED talks were being held. TED is integral to this installation, as the two artists met at TED 2011 after their talks. In order to make such an installation possible, Echelman needed the expertise of Autodesk, a 3D design engineering software that specializes in working with interesting design problems. The amazing feature about this outdoor installation is that passersby can choreograph the lights on the web with their smartphones, controlling the aesthetic nature of the piece through technology.
If you would like to see how a sculpture of this magnitude was imagined, and then installed, TED blog has a ‘making-of’ gallery.
The installation will be up in Vancouver until the 22nd of March, 2014.
-Anna Paluch
Light Up the Skies
When two artists with different aesthetic backgrounds collaborate, they often create stunning pieces, and the collaboration between artist’s Aaron Koblin and Janet Echelman is no exception.
Janet Echelman, who has been featured already on Art & Science Journal, creates fishnet-like aerial sculptures that look as if they were floating entities in the sky. The nets’ shapes are manipulated to form anything from funnels to winged creatures. Aaron Koblin is an artist and designer who focuses on data and digital technologies, how this information relates to cultural trends and how people react to changing technologies.
These artists collaborated together on March 15, 2014 at TED 2014 to create “Skies Painted with Unnumbered Sparks” outside the Vancouver Convention Centre where the TED talks were being held. TED is integral to this installation, as the two artists met at TED 2011 after their talks. In order to make such an installation possible, Echelman needed the expertise of Autodesk, a 3D design engineering software that specializes in working with interesting design problems. The amazing feature about this outdoor installation is that passersby can choreograph the lights on the web with their smartphones, controlling the aesthetic nature of the piece through technology.
If you would like to see how a sculpture of this magnitude was imagined, and then installed, TED blog has a ‘making-of’ gallery.
The installation will be up in Vancouver until the 22nd of March, 2014.
-Anna Paluch

Light Up the Skies

When two artists with different aesthetic backgrounds collaborate, they often create stunning pieces, and the collaboration between artist’s Aaron Koblin and Janet Echelman is no exception.

Janet Echelman, who has been featured already on Art & Science Journal, creates fishnet-like aerial sculptures that look as if they were floating entities in the sky. The nets’ shapes are manipulated to form anything from funnels to winged creatures. Aaron Koblin is an artist and designer who focuses on data and digital technologies, how this information relates to cultural trends and how people react to changing technologies.

These artists collaborated together on March 15, 2014 at TED 2014 to create “Skies Painted with Unnumbered Sparks” outside the Vancouver Convention Centre where the TED talks were being held. TED is integral to this installation, as the two artists met at TED 2011 after their talks. In order to make such an installation possible, Echelman needed the expertise of Autodesk, a 3D design engineering software that specializes in working with interesting design problems. The amazing feature about this outdoor installation is that passersby can choreograph the lights on the web with their smartphones, controlling the aesthetic nature of the piece through technology.

If you would like to see how a sculpture of this magnitude was imagined, and then installed, TED blog has a ‘making-of’ gallery.

The installation will be up in Vancouver until the 22nd of March, 2014.

-Anna Paluch

2 Photos
/ Janet Echelman Aarron Koblin TED Vancouver webs technology engineering anna paluch art science art and science journal autodesk

Water Light Graffiti by Antonin Fourneau

Graffiti art on its own is an amazing, albeit misunderstood art practice, but what happens when you swap concrete walls for LED lights and spray cans with a water gun? You get Water Light Graffiti! Created by Antonin Fourneau as part of his artist residency with Digitalarti Artlab, Water Light Graffiti is a wall of LED lights that is triggered to turn on selected lights, when they come into contact with water. It is fun for all ages! Months of testing went into making sure the LED lights turned on once in contact with water, but clearly all that work paid off.

Electronics and water are not often paired together, but because water is conductive, it reacts with specifically placed metal contacts on the circuit board of lights, decreasing resistance and allowing a current to flow. Christopher J. Woodall created his own version of this water-activated circuit, and with plenty of info-graphics and instructions, provides enough information for you to make your own!

-Anna Paluch

(Source: artandsciencejournal.com)

antonin fourneauanna paluchwater light graffitielectricitywatergraffiticonductivitycodesLED lightsChristopher J. Woodallartscienceart and science journaldigitalarti artlab
The Optical Illusions of Kohei Nawa
Using crystal beads and prism sheets, artist Kohei Nawa manipulates the audience’s perceptions of the images. In his PixCell (Beads) series (2005-2009), taxidermy animals are covered in clear crystal beads, obstructing our perception of the surface, and thus, the true image of the animal. In his PixCell (Prism) series (2003-2009), Nawa encases objects in acrylic boxes, but, with an added layer of prism sheets, that cut the light travelling into the boxes in two, and creating the illusion of multiples of the object, much like a hologram. In the latter work, the sculptural pieces are placed in a room that optically flattens the space and the works; the artist is taking already three-dimensional objects, flattening them by playing with the configuration of the space to appear two-dimensional, then placing prism sheets in the acrylic boxes to render the images three-dimensional by playing with the configuration in the smaller spaces of the boxes.
Distortion is a key element in the artists’ work. The skin of the animals in the PixCell (Beads) series is altered, creating a different view of the structure of the animal as a whole, and through each individual bead. The artist himself described the animals as being “replaced by ‘a husk of light’, and the new vision ‘the cell of an image’ (PixCell) is shown”, where the beads become the new ‘biological’ make-up of the animal. The random grouping of some of the beads can be seen as a direct commentary on how we perceive images, especially how the public is fed information, and the fact that sometimes even seeing the whole picture, with all the information, can still obscure the original intent of a piece. It is all in perception; two people seeing a piece will go away from it with two different perspectives on its intention or meaning.
-Anna Paluch
The Optical Illusions of Kohei Nawa
Using crystal beads and prism sheets, artist Kohei Nawa manipulates the audience’s perceptions of the images. In his PixCell (Beads) series (2005-2009), taxidermy animals are covered in clear crystal beads, obstructing our perception of the surface, and thus, the true image of the animal. In his PixCell (Prism) series (2003-2009), Nawa encases objects in acrylic boxes, but, with an added layer of prism sheets, that cut the light travelling into the boxes in two, and creating the illusion of multiples of the object, much like a hologram. In the latter work, the sculptural pieces are placed in a room that optically flattens the space and the works; the artist is taking already three-dimensional objects, flattening them by playing with the configuration of the space to appear two-dimensional, then placing prism sheets in the acrylic boxes to render the images three-dimensional by playing with the configuration in the smaller spaces of the boxes.
Distortion is a key element in the artists’ work. The skin of the animals in the PixCell (Beads) series is altered, creating a different view of the structure of the animal as a whole, and through each individual bead. The artist himself described the animals as being “replaced by ‘a husk of light’, and the new vision ‘the cell of an image’ (PixCell) is shown”, where the beads become the new ‘biological’ make-up of the animal. The random grouping of some of the beads can be seen as a direct commentary on how we perceive images, especially how the public is fed information, and the fact that sometimes even seeing the whole picture, with all the information, can still obscure the original intent of a piece. It is all in perception; two people seeing a piece will go away from it with two different perspectives on its intention or meaning.
-Anna Paluch
The Optical Illusions of Kohei Nawa
Using crystal beads and prism sheets, artist Kohei Nawa manipulates the audience’s perceptions of the images. In his PixCell (Beads) series (2005-2009), taxidermy animals are covered in clear crystal beads, obstructing our perception of the surface, and thus, the true image of the animal. In his PixCell (Prism) series (2003-2009), Nawa encases objects in acrylic boxes, but, with an added layer of prism sheets, that cut the light travelling into the boxes in two, and creating the illusion of multiples of the object, much like a hologram. In the latter work, the sculptural pieces are placed in a room that optically flattens the space and the works; the artist is taking already three-dimensional objects, flattening them by playing with the configuration of the space to appear two-dimensional, then placing prism sheets in the acrylic boxes to render the images three-dimensional by playing with the configuration in the smaller spaces of the boxes.
Distortion is a key element in the artists’ work. The skin of the animals in the PixCell (Beads) series is altered, creating a different view of the structure of the animal as a whole, and through each individual bead. The artist himself described the animals as being “replaced by ‘a husk of light’, and the new vision ‘the cell of an image’ (PixCell) is shown”, where the beads become the new ‘biological’ make-up of the animal. The random grouping of some of the beads can be seen as a direct commentary on how we perceive images, especially how the public is fed information, and the fact that sometimes even seeing the whole picture, with all the information, can still obscure the original intent of a piece. It is all in perception; two people seeing a piece will go away from it with two different perspectives on its intention or meaning.
-Anna Paluch

The Optical Illusions of Kohei Nawa

Using crystal beads and prism sheets, artist Kohei Nawa manipulates the audience’s perceptions of the images. In his PixCell (Beads) series (2005-2009), taxidermy animals are covered in clear crystal beads, obstructing our perception of the surface, and thus, the true image of the animal. In his PixCell (Prism) series (2003-2009), Nawa encases objects in acrylic boxes, but, with an added layer of prism sheets, that cut the light travelling into the boxes in two, and creating the illusion of multiples of the object, much like a hologram. In the latter work, the sculptural pieces are placed in a room that optically flattens the space and the works; the artist is taking already three-dimensional objects, flattening them by playing with the configuration of the space to appear two-dimensional, then placing prism sheets in the acrylic boxes to render the images three-dimensional by playing with the configuration in the smaller spaces of the boxes.

Distortion is a key element in the artists’ work. The skin of the animals in the PixCell (Beads) series is altered, creating a different view of the structure of the animal as a whole, and through each individual bead. The artist himself described the animals as being “replaced by ‘a husk of light’, and the new vision ‘the cell of an image’ (PixCell) is shown”, where the beads become the new ‘biological’ make-up of the animal. The random grouping of some of the beads can be seen as a direct commentary on how we perceive images, especially how the public is fed information, and the fact that sometimes even seeing the whole picture, with all the information, can still obscure the original intent of a piece. It is all in perception; two people seeing a piece will go away from it with two different perspectives on its intention or meaning.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
/ kohei nawa anna paluch optical illusion optics crystals prisms light art science art and science journal
Helen Friel’s “Here’s Looking at Euclid”
Mathematics is like art; you either understand the concepts (i.e., you ‘get it’), or you become completely lost when coming into contact with them. Some people are able to understand both complex theories and expressions in art, and equations that, for some people, look like a bag of numbers and symbols exploded onto a piece of paper. In 1847, Oliver Byrne, a civil engineer and author, published a book called “Euclid’s Elements” which used coloured graphic explanations of each geometric principle. The style of graphics is similar to that of the Bauhaus and De Stijl movements, but since the book predates each, it could very well have been an inspiration for the creativity of the modernists.
Fast forward to the present, and a new rebirth of this book’s mathematical illustrations is inspiring paper engineer and illustrator Helen Friel to create three-dimensional sculpture replicas of the exact graphics in the book. The artists’ series, entitled “Here’s Looking at Euclid” (2012) uses the instructions found in Byrne’s book to create tangible mathematical theorems in the palm of your hand. Sure, it is a cool sculpture all on its own, but it is also an amazing tool to help teach people these theorems, especially those who are more visual learners and have difficulty concentrating on a page full of numbers.
If you would like to make one of these sculptures yourself, you can download and make your very own paper model of Pythagoras’ Theorem here.
-Anna Paluch
Helen Friel’s “Here’s Looking at Euclid”
Mathematics is like art; you either understand the concepts (i.e., you ‘get it’), or you become completely lost when coming into contact with them. Some people are able to understand both complex theories and expressions in art, and equations that, for some people, look like a bag of numbers and symbols exploded onto a piece of paper. In 1847, Oliver Byrne, a civil engineer and author, published a book called “Euclid’s Elements” which used coloured graphic explanations of each geometric principle. The style of graphics is similar to that of the Bauhaus and De Stijl movements, but since the book predates each, it could very well have been an inspiration for the creativity of the modernists.
Fast forward to the present, and a new rebirth of this book’s mathematical illustrations is inspiring paper engineer and illustrator Helen Friel to create three-dimensional sculpture replicas of the exact graphics in the book. The artists’ series, entitled “Here’s Looking at Euclid” (2012) uses the instructions found in Byrne’s book to create tangible mathematical theorems in the palm of your hand. Sure, it is a cool sculpture all on its own, but it is also an amazing tool to help teach people these theorems, especially those who are more visual learners and have difficulty concentrating on a page full of numbers.
If you would like to make one of these sculptures yourself, you can download and make your very own paper model of Pythagoras’ Theorem here.
-Anna Paluch
Helen Friel’s “Here’s Looking at Euclid”
Mathematics is like art; you either understand the concepts (i.e., you ‘get it’), or you become completely lost when coming into contact with them. Some people are able to understand both complex theories and expressions in art, and equations that, for some people, look like a bag of numbers and symbols exploded onto a piece of paper. In 1847, Oliver Byrne, a civil engineer and author, published a book called “Euclid’s Elements” which used coloured graphic explanations of each geometric principle. The style of graphics is similar to that of the Bauhaus and De Stijl movements, but since the book predates each, it could very well have been an inspiration for the creativity of the modernists.
Fast forward to the present, and a new rebirth of this book’s mathematical illustrations is inspiring paper engineer and illustrator Helen Friel to create three-dimensional sculpture replicas of the exact graphics in the book. The artists’ series, entitled “Here’s Looking at Euclid” (2012) uses the instructions found in Byrne’s book to create tangible mathematical theorems in the palm of your hand. Sure, it is a cool sculpture all on its own, but it is also an amazing tool to help teach people these theorems, especially those who are more visual learners and have difficulty concentrating on a page full of numbers.
If you would like to make one of these sculptures yourself, you can download and make your very own paper model of Pythagoras’ Theorem here.
-Anna Paluch
Helen Friel’s “Here’s Looking at Euclid”
Mathematics is like art; you either understand the concepts (i.e., you ‘get it’), or you become completely lost when coming into contact with them. Some people are able to understand both complex theories and expressions in art, and equations that, for some people, look like a bag of numbers and symbols exploded onto a piece of paper. In 1847, Oliver Byrne, a civil engineer and author, published a book called “Euclid’s Elements” which used coloured graphic explanations of each geometric principle. The style of graphics is similar to that of the Bauhaus and De Stijl movements, but since the book predates each, it could very well have been an inspiration for the creativity of the modernists.
Fast forward to the present, and a new rebirth of this book’s mathematical illustrations is inspiring paper engineer and illustrator Helen Friel to create three-dimensional sculpture replicas of the exact graphics in the book. The artists’ series, entitled “Here’s Looking at Euclid” (2012) uses the instructions found in Byrne’s book to create tangible mathematical theorems in the palm of your hand. Sure, it is a cool sculpture all on its own, but it is also an amazing tool to help teach people these theorems, especially those who are more visual learners and have difficulty concentrating on a page full of numbers.
If you would like to make one of these sculptures yourself, you can download and make your very own paper model of Pythagoras’ Theorem here.
-Anna Paluch

Helen Friel’s “Here’s Looking at Euclid”

Mathematics is like art; you either understand the concepts (i.e., you ‘get it’), or you become completely lost when coming into contact with them. Some people are able to understand both complex theories and expressions in art, and equations that, for some people, look like a bag of numbers and symbols exploded onto a piece of paper. In 1847, Oliver Byrne, a civil engineer and author, published a book called “Euclid’s Elements” which used coloured graphic explanations of each geometric principle. The style of graphics is similar to that of the Bauhaus and De Stijl movements, but since the book predates each, it could very well have been an inspiration for the creativity of the modernists.

Fast forward to the present, and a new rebirth of this book’s mathematical illustrations is inspiring paper engineer and illustrator Helen Friel to create three-dimensional sculpture replicas of the exact graphics in the book. The artists’ series, entitled “Here’s Looking at Euclid” (2012) uses the instructions found in Byrne’s book to create tangible mathematical theorems in the palm of your hand. Sure, it is a cool sculpture all on its own, but it is also an amazing tool to help teach people these theorems, especially those who are more visual learners and have difficulty concentrating on a page full of numbers.

If you would like to make one of these sculptures yourself, you can download and make your very own paper model of Pythagoras’ Theorem here.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
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Andrew O’Malley’s Light Sculptures

Some artists may find it difficult to create works that truly engage an audience, but Ottawa artist Andrew O’Malley is not one of them. His lighting works are playful and entertaining, combining finely crafted cases, hand-built electronics, and custom programming to create pieces that evolve in front of our eyes; like ‘living’, electronic sculptures.

The artist is fascinated with the rules of programming, and how even something structured can create random results. A light box may be programmed to change colours at certain times periods, but the fun part is seeing what colours the program will choose. It helps too that the artist studied electrical engineering, allowing him to have the knowledge behind the science in order to express programs and circuits creatively through art. 

One of Andrew’s pieces, Electric Window 4 (2009), uses sixteen LED lights to create gradient effects between light intensities, as well as transitions and patterns. The work is always changing; instead of having people stare at the same image, different viewers see a different art piece. The pattern that one person saw first, is different to what another person will see first, and this dynamic art piece allows for diverse conversation and understanding of the art.

If you would like to see some of Andrew’s pieces in person, he is represented by Cube Gallery in Ottawa, where they not only have a collection of his light boxes, but also a DOTKLOK (2010)!

-Anna Paluch

(Source: artandsciencejournal.com)

andrew o'malleyanna paluchlightlight boxeselectronicslocalOttawaCube Galleryartscienceart and science journalsculpture
Telling (Nature’s) Stories Through Fabric
The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.
Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.
Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.
If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.
-Anna Paluch
Telling (Nature’s) Stories Through Fabric
The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.
Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.
Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.
If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.
-Anna Paluch
Telling (Nature’s) Stories Through Fabric
The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.
Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.
Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.
If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.
-Anna Paluch

Telling (Nature’s) Stories Through Fabric

The works by textile artist Mister Finch resemble classical illustrations of flora and fauna come to life. There is also an element of fantasy; fabric spiders having a tea party, bees the size of a human head, or over-sized fungi. The artist takes images from nature, and in the cases of some of his moths and fungi, categorizes the pieces as if they were specimens found in the wild.

Mister Finch’s inspiration mainly comes from British folklore and the natural world around him. What makes this artist unique, other than the work itself, is that the majority of the materials used are found or recycled. To the artist, it is a way of sewing in the story of the reinvented material with the final story of the finished pieces.

Storytelling, fabric arts and nature come together to create works that bring to life fantasy worlds one would only find in storybooks. Anatomically correct flora and fauna, and woodland creatures similar to the ones found in storybook illustrations are consistent in his work, truly bringing the fantasy world to life in a tangible form. The appeal of his work is nostalgic; not only does the artist use found materials with their own stories, but builds with these materials onto existing stories that can be paired with those from our childhoods, while also bringing to life scientific illustrations of particular species of moths and plants.

If you would like to see more of Mister Finch’s work, he has many high-resolution photographs on his tumblr, as well as a store where you can purchase some of his pieces.

-Anna Paluch

(Source: artandsciencejournal.com)

3 Photos
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