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Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch
Landscape Photomontage
Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.
Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.
Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.
The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 
Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.
-Anna Paluch

Landscape Photomontage


Photographing landscapes should not be limited to a simple point and click. There are many different capturing and editing techniques that artists, such as Matt Wisniewski, Keira Gruttner, and Fong Qi Wei, use in order to capture their surroundings through their unique perspectives and digital tools.

Matt Wisniewski is a collage artist based in New York who takes fashion photographs and manipulates them to fit into a specific geological element or landscape photograph. His “Landscape” Series turns mountain ranges into heads atop human shoulders, or trees on a hillside into cascading hair. His other series’ “Mineral Minds” and “My Home is the Sea” combine minerals and stones, and crashing waves (respectfully) with the models, acting as either extensions of their anatomy or wardrobe. His work is both landscape and portrait photography in one.

Keira Gruttner also uses collage to combine elements of landscape, but unlike Matt Wisniewski, Gruttner specifically focuses on nature. The artist states that her upbringing on the East Coast of Canada inspired her to create her collages. Her work is more tactile than other digital collages, as she first prints her landscapes and then carefully selects elements from each and assembles the pieces together, like a puzzle. She often repeats the process again through scanning the first collage, to then print and prepare for the final collage.

The work of Fong Qi Wei, “Time is a Dimension”, is also puzzle-like, connecting different time-periods of the day with urban skylines to show the daily changes in our atmosphere. In one picture, we are able to see both morning and evening, as if the two were always ongoing at the same time. The artist’s work plays with time and dimension, where the photograph is not only capturing one moment in time, but many times in, what is presented as, one moment. 

Each of these artists plays with our perceptions in terms of how we remember our surroundings and especially our relationship with the landscapes around us. Their works are refreshing examples of the new techniques in landscape photography.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch keira gruttner fong qi wei matt wisniewski photography digital photography collage nature landscape art science anatomy art and science journal photomontage
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch
SpotLIGHT on Super Nature Design
Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.
It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.
Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.
Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.For more examples of their works, you can visit Super Nature Design’s website here.
-Anna Paluch

SpotLIGHT on Super Nature Design

Shanghai-based design company Super Nature Design has a unique approach to engaging audiences, by focusing on creating works that are interactive in design, communicate visually with those engaging with it, and most importantly, doing all of the above through the use of media technology.

It is not unheard of for design companies to create art, and Super Nature has a strong portfolio of interactive works, particularly those that use light and geometry to engage audiences, creating a dialogue between them, the space they are in, and the materiality and function of the work before them.

Some works, like “New Angles” (2010), include pyramid-like structures with lights that react to the movements of the viewer. Super Nature describes this work as one that reflects “the juxtaposition of subversive thinking and visual perception”, combining imagination, reality and technology. Further diving into the world of imagination is “Dreamscape” (2013) which utilizes the idea of a hypercube and the fourth dimension. Interacting with the work and its space allows audiences to experience different depths of field, as the lights travel through the many layers of the sculpture. This piece takes advantage of the architecture of the cube and characteristics of light, to create illusions that challenge our perceptions of visual dimensions.

Moving onto more literal homages to science, are works “PRISMA1666” (2011) and “Lost in Pascal’s Triangle” (2012). In “PRISMA1666”, Super Nature (collaborating with Wonwei) reference the year 1666, when Sir Isaac Newton conducted an experiment which today, is considered ”as a landmark discovery in the study of optics and color theory”. The piece consists of fifteen triangular blocks on a white surface, with colourful projections shining upon them, refracting and creating a performance of light. In “Lost in Pascal’s Triangle”, the mathematician’s triangle theory is magnified in the form of one-hundred LED triangles that are within their own fluorescent triangular holds. Audiences are encouraged to interact with the piece through a xylophone, which “generate[s] a series of music and lighting sequences”.

For more examples of their works, you can visit Super Nature Design’s website here.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch Super Nature Design Dreamscape New Angles PRISMA1666 Lost in Pascal's Triangle optics light technology optical illusion Wonwei geometry interactive art art science art and science journal LED hypercube dimensions media art design shanghai
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch
Encased
A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.
If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.
Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.
Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.
Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.
-Anna Paluch

Encased

A frame is not the only way to encase an artwork for display. More artists are experimenting with plastic resins or glass to create their pieces. The resin preserves the work, more so than a wooden frame would do. The results are often similar to prehistoric sap with various objects from leaves to bugs, found within them.

If it wasn’t for plastic resin, some of artist Peter Alexander’s works would not even exist, as his piece “Cloud Box” (1966) consisted of “introducing water vapor to the liquid resin during the casting process” which created the cloud within. The artist was actually able to ‘catch’ a cloud, or technically, create a cloud and trap it forever, thanks to the resin.

Another artist who tampers with their resin to create unique pieces is Michal Macku, who in 1989 began working with ‘gellage’, his own invention of combining collage elements and gelatin. Working with gelatin prints, the artist is able to reshape his photographs, “changing their relationships and endowing them with new meanings during the transfer”. He then combines this process with state-of-the-art technology to great his large scale glass gellages, which trap his images in a 3D setting, rather than flat like a photograph.

Roni Horn’s “Well and Truly” (2009-2010) plays with illusion, where the work at first seems like a container holding water, but inspecting the piece reveals the work’s true medium; a solid cylinder of glass. The artist emanates the characteristic of water, its changeability, by allowing air to come into contact with the top of the glass as it sets in its mold, creating a smooth gloss. The artist undermines “all certainty about [the piece’s] solid or liquid nature” changing the physical experience of the viewer.

Changing physical materiality is also present in Kirsten Baskett’s pieces, such as “Autonoma”. Baskett etches delicate images onto fine Japanese kozo paper, later encasing them in clear resin, and the once “fragile paper becomes indestructible and untouchable”. The artist sees her pieces as frozen in time, permanently available to view, but never to experience the true materiality of the object captured within.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ anna paluch michal macku peter alexander roni horn kirsten baskett resin plastic resin glass resin photography art science preservation art and science journal gellage materiality changeability
BUZZ: Insects As Art
Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.
A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).
Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.
Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.
The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.
Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.
Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.
In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.
-Anna Paluch
BUZZ: Insects As Art
Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.
A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).
Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.
Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.
The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.
Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.
Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.
In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.
-Anna Paluch
BUZZ: Insects As Art
Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.
A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).
Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.
Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.
The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.
Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.
Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.
In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.
-Anna Paluch

BUZZ: Insects As Art

Insects may be pests, but they are important not only for our environment, but also great inspirations for artistic expressions.

A few months ago there was an exhibit at Ottawa’s Gallery 101 called BUZZ: Getting to Know Other Animals, curated by Laura Margita, which explored insects as both specimen and art, featuring the works of Kimberly Edgar, Deborah Margo, Bioni Samp, and Amy Swartz, with borrowed specimens from the Canadian National Collection of Insects, Arachnids, and Nematodes (CNC).

Thorough research and creative expression came together, juxtaposing scientific names and species groups with artistic titles and aesthetical organization.

Kimberly Edgar’s work was used to tell a story through her drawings, which as she stated “forces her to analyze them aesthetically, so that she is no longer thinking about them fearfully, but learning to appreciate them as beautiful and interesting; and that drawing them allows her to cross that fine line between revulsion and fascination”.

The work of Deborah Margo created a garden in the gallery space as a form of experiment, where the work “[stimulated] bodies and minds by combining creative experimentation, ecological sustainability, and nourishment for two specific animal species: bees and cultural workers”. Working specifically with those two entities in mind created a piece which formed a dialogue between social and ecological systems.

Bioni Samp performed at the Canadian Museum of Nature, where he exhibited his DJ-skills combining music and bee frequencies, to raise awareness on the plight of bees.

Amy Swartz created intricate installations, similar to the display cases on loan from the CNC, which “[explored] the idea of obsession — not only in the practice of art, but also in humanity’s perceived control over nature, life, and death”. Juxtaposing her specimens with the ones from the CNC was deliberate, to make one “consider how the gaze of the scientist and the gaze of the artist may differ in regards to the animals they are studying”.

In general, the exhibit was not about getting over phobias of ‘creepy’ insects or merely admiring their natural patterns and colours, but about remembering the importance of even the smallest of organisms to our environment. It was a wake-up call to protect Canada’s biodiversity, celebrating the beauty and importance of these little creatures.

-Anna Paluch

3 Photos
/ anna paluch deborah margo bioni samp laura margita gallery 101 ottawa ottawa art BUZZ kimberly edgar amy swartz Canadian National Collection of Insects insects bees art science art and science journal Environment ecology biodiversity
Plastic Bottles: The New Artistic Medium
Recycling has never been more fun!
Cubify and Coco-Cola have, respectfully, come up with innovative ways to cut waste through simple engineering. The soft drink company has created ‘caps’ with multi-functions to be placed over used plastic bottles, such as a water gun, sponge-brush for painting, sauce nozzle, and so much more!
Cubify on the other hand, has created a 3D printer, the Ekocycle Printer, that also uses plastic bottles, but in this case, as the printing material. One filament contains materials from three plastic bottles.
Unfortunately, the 3D printer is somewhat of a designer product, and the filaments are only available in black, red, white and natural, with the supposed intention of making your own accessories like jewelry or phone cases. The printer does though, come with Wi-Fi and Bluetooth, so you can upload your design to any device. The idea is innovative and hopefully using plastic bottles to make useful objects will catch on with other major 3D printing companies.
There are however more grassroots organizations and individuals who use plastic waste in their 3D printing. Michigan Technological University’s Joshua Pearce is able to use milk jugs as filament for his 3D printer with the help of his RecycleBots. 
There was even a Kickstarter campaign to create the Filabot, which not only uses plastic bottles, but other plastic products as the printing filament.
If you prefer a more ‘designer’ aesthetic to your plastic recycling 3D printer, Cubify will be selling the Ekocycle Printers later this year.
-Anna Paluch

Plastic Bottles: The New Artistic Medium

Recycling has never been more fun!

Cubify and Coco-Cola have, respectfully, come up with innovative ways to cut waste through simple engineering. The soft drink company has created ‘caps’ with multi-functions to be placed over used plastic bottles, such as a water gun, sponge-brush for painting, sauce nozzle, and so much more!

Cubify on the other hand, has created a 3D printer, the Ekocycle Printer, that also uses plastic bottles, but in this case, as the printing material. One filament contains materials from three plastic bottles.

Unfortunately, the 3D printer is somewhat of a designer product, and the filaments are only available in black, red, white and natural, with the supposed intention of making your own accessories like jewelry or phone cases. The printer does though, come with Wi-Fi and Bluetooth, so you can upload your design to any device. The idea is innovative and hopefully using plastic bottles to make useful objects will catch on with other major 3D printing companies.

There are however more grassroots organizations and individuals who use plastic waste in their 3D printing. Michigan Technological University’s Joshua Pearce is able to use milk jugs as filament for his 3D printer with the help of his RecycleBots. 

There was even a Kickstarter campaign to create the Filabot, which not only uses plastic bottles, but other plastic products as the printing filament.

If you prefer a more ‘designer’ aesthetic to your plastic recycling 3D printer, Cubify will be selling the Ekocycle Printers later this year.

-Anna Paluch

(Source: artandsciencejournal.com)

3D Printing plastic recycle Cubify Ekocycle Coca-Cola Environment Joshua Pearce RecycleBot Filabot anna paluch art science art and science journal
Food For Thought: Art is Good For Your Brain!
A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.
Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.
A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.
Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.
Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!
-Anna Paluch
Food For Thought: Art is Good For Your Brain!
A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.
Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.
A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.
Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.
Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!
-Anna Paluch
Food For Thought: Art is Good For Your Brain!
A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.
Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.
A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.
Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.
Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!
-Anna Paluch

Food For Thought: Art is Good For Your Brain!

A recent study by University Hospital Erlangen in Germany suggests that, other than relieving stress, coming into contact with art specifically by making art works or crafts, can create “a significant improvement in psychological resilience”. This is due to the excessive use of motor and cognitive processing in the brain, stimulating it. Such discoveries are beneficial especially to the elderly, as creating art keeps the brain healthy, which could help slow down the onslaught of memory loss. You can read more on the findings here.

Science, engineering and all other typically ‘non-artsy’ fields have artistic elements about them; in fact, mathematical equations, DNA and even microbiological elements can be seen as works of art all on their own, serving both aesthetic and educational purposes. Even bacteria, manipulated by scientists such as Eshel Ben-Jacob, can create psychedelic patterns based on natural formations due to change in temperature or environment. The results are truly groovy.

A certain amount of creativity and a sense of design were definitely needed to create “inFORM”, an invention from MIT which allows users to interact with objects through a screen (yes, the digital kind). This invention is capable of rendering 3D objects physically, allowing users to interact with each other no matter how far away they are.

Not only can our artistic side create new inventions or help us see the scientific world in a different light, but art can help keep the brain active and healthy for many decades, or in the case of Hal Lasko, almost a century. The 99 year old, who passed away this year, worked as a typographer in his youth, making fonts by hand. After becoming partially blind in his senior years, Lasko turned to digital mediums such as Microsoft Paint, creating over 150 digital pieces.

Art it seems is a lot more beneficial to us than merely another creative outlet and stress-reliever, and we have science to thank for reaching that conclusion!

-Anna Paluch

3 Photos
/ University of Erlangen art stree brain health memory elderly Eshel Ben-Jacob bacteria inFORM MIT tehcnology engineering science Hal Lasko digital art digital painting anna paluch art and science journal
The Telegarden
Between the years of 1995 and 2004 the University of South Carolina, and subsequently the Ars Electronica Centre in Austria, were home to an innovative project called “The Telegarden”. This garden featured an area of dirt and plants inside a planter, which also held an industrial robot arm, which could be controlled through the internet.
How the garden worked, was that people from all over the world were able to observe the garden through a camera in the robot arm, but also, have the power to water and tend to the plants. If there was a free space the robot arm even allowed an individual, through the internet, the ability to plant a seed and take care of it. 
Professor Ken Goldberg explained that the decision to use a garden for this interactive project was that it is “very human, very immediate, very tactile”, a stark contrast to the idea of the internet and anything associated with it as complex, mathematical and machine-like. The internet is fast-paced, connecting us to other people and information in milliseconds, but the garden cannot be rushed, it must be cared for carefully,
As Randall Packer states:
“The Telegarden creates a physical garden as an environment to stage social interaction and community in virtual space. The Telegarden is a metaphor for the care and feeding of the delicate social ecology of the net." — San Jose Museum of Art, April 1998.

-Anna Paluch

The Telegarden

Between the years of 1995 and 2004 the University of South Carolina, and subsequently the Ars Electronica Centre in Austria, were home to an innovative project called “The Telegarden”. This garden featured an area of dirt and plants inside a planter, which also held an industrial robot arm, which could be controlled through the internet.

How the garden worked, was that people from all over the world were able to observe the garden through a camera in the robot arm, but also, have the power to water and tend to the plants. If there was a free space the robot arm even allowed an individual, through the internet, the ability to plant a seed and take care of it. 

Professor Ken Goldberg explained that the decision to use a garden for this interactive project was that it is “very human, very immediate, very tactile”, a stark contrast to the idea of the internet and anything associated with it as complex, mathematical and machine-like. The internet is fast-paced, connecting us to other people and information in milliseconds, but the garden cannot be rushed, it must be cared for carefully,

As Randall Packer states:

The Telegarden creates a physical garden as an environment to stage social interaction and community in virtual space. The Telegarden is a metaphor for the care and feeding of the delicate social ecology of the net." — San Jose Museum of Art, April 1998.

-Anna Paluch

(Source: artandsciencejournal.com)

The Telegarden university of south carolina ars electronica anna paluch art science art and science journal garden biology robotics engineering biodiversity
A Sweet 3-D Printing Project!
Bees are fascinating little creatures, having the capacity to build intricate structures. Marketing agencies, Sid Lee and The Ebeling Group decided to harness the bees building skills by manipulating the shape in which the they build their hives, creating organic sculptures for their client Dewar’s. 
The results include bottles and busts made purely from honeycomb; not chiseled or stuck together, but formed naturally by the bees themselves. With 3-D printing gaining popularity, it is wonderful to see natural examples of 3-D printing. The artists and bee keepers involved in the 3-D project are also able to study the process the bees go through to build their hives, as the outer shell is made of see-through plastic. 
Everything was taken into consideration to make the 80,000 bees as comfortable as possible; the base and see-through shell were designed to mimic the enclosed space of a normal bee hive. The bees were even helped in building their new hives, given ‘blueprints’ in order to collect pollen and nectarThis is a great example of thinking ‘outside the box’, and marketing done right!
There is a video of the process available here.
If you would like to read about other artists who work with bees to create natural honeycomb sculptures, check out Tomás Libertíny and Aganetha Dyck.
-Anna Paluch
A Sweet 3-D Printing Project!
Bees are fascinating little creatures, having the capacity to build intricate structures. Marketing agencies, Sid Lee and The Ebeling Group decided to harness the bees building skills by manipulating the shape in which the they build their hives, creating organic sculptures for their client Dewar’s. 
The results include bottles and busts made purely from honeycomb; not chiseled or stuck together, but formed naturally by the bees themselves. With 3-D printing gaining popularity, it is wonderful to see natural examples of 3-D printing. The artists and bee keepers involved in the 3-D project are also able to study the process the bees go through to build their hives, as the outer shell is made of see-through plastic. 
Everything was taken into consideration to make the 80,000 bees as comfortable as possible; the base and see-through shell were designed to mimic the enclosed space of a normal bee hive. The bees were even helped in building their new hives, given ‘blueprints’ in order to collect pollen and nectarThis is a great example of thinking ‘outside the box’, and marketing done right!
There is a video of the process available here.
If you would like to read about other artists who work with bees to create natural honeycomb sculptures, check out Tomás Libertíny and Aganetha Dyck.
-Anna Paluch

A Sweet 3-D Printing Project!

Bees are fascinating little creatures, having the capacity to build intricate structures. Marketing agencies, Sid Lee and The Ebeling Group decided to harness the bees building skills by manipulating the shape in which the they build their hives, creating organic sculptures for their client Dewar’s. 

The results include bottles and busts made purely from honeycomb; not chiseled or stuck together, but formed naturally by the bees themselves. With 3-D printing gaining popularity, it is wonderful to see natural examples of 3-D printing. The artists and bee keepers involved in the 3-D project are also able to study the process the bees go through to build their hives, as the outer shell is made of see-through plastic. 

Everything was taken into consideration to make the 80,000 bees as comfortable as possible; the base and see-through shell were designed to mimic the enclosed space of a normal bee hive. The bees were even helped in building their new hives, given ‘blueprints’ in order to collect pollen and nectar

This is a great example of thinking ‘outside the box’, and marketing done right!

There is a video of the process available here.

If you would like to read about other artists who work with bees to create natural honeycomb sculptures, check out Tomás Libertíny and Aganetha Dyck.

-Anna Paluch

(Source: artandsciencejournal.com)

2 Photos
/ bees honey 3D Printing nature engineering biology marketing Tomas libertiny aganetha dyck anna paluch art science art and science journal advertising
Home Sweet Home
Usually plastic and the environment do not go hand in hand, but artist Aki Inomata uses plastic to create an environment for her little pet hermit crabs in “Why Not Hand Over a “Shelter” to Hermit Crabs?” (2009, 2010-2013).
With the help of CT scanning to render a three-dimensional model of an empty shell, Inomata creates her base and then builds houses atop these shell renderings. These architectural wonders mimic the style of popular dwellings, from Tokyo house-style to Paris apartments. 
With these plastic hermit crab habitats, Inomata wanted to explore not only the hermit crab’s adaptability to new surroundings, but how we adapt as well. Immigration, relocation, even acquiring a new identity or nationality is more or less the human version of growing out of a shell, and finding a new one to call ‘home’.
Not only is this series an amazing symbolic representation of our will to adapt, but also a fun way to learn more about the life and physiology of the hermit crab, as the dwellings are completely see-through. Have you ever wondered what a hermit crab’s body looks like inside its shell?
A video of both the hermit crabs in action and how the artist came about designing the shells can be found here.
-Anna Paluch
Home Sweet Home
Usually plastic and the environment do not go hand in hand, but artist Aki Inomata uses plastic to create an environment for her little pet hermit crabs in “Why Not Hand Over a “Shelter” to Hermit Crabs?” (2009, 2010-2013).
With the help of CT scanning to render a three-dimensional model of an empty shell, Inomata creates her base and then builds houses atop these shell renderings. These architectural wonders mimic the style of popular dwellings, from Tokyo house-style to Paris apartments. 
With these plastic hermit crab habitats, Inomata wanted to explore not only the hermit crab’s adaptability to new surroundings, but how we adapt as well. Immigration, relocation, even acquiring a new identity or nationality is more or less the human version of growing out of a shell, and finding a new one to call ‘home’.
Not only is this series an amazing symbolic representation of our will to adapt, but also a fun way to learn more about the life and physiology of the hermit crab, as the dwellings are completely see-through. Have you ever wondered what a hermit crab’s body looks like inside its shell?
A video of both the hermit crabs in action and how the artist came about designing the shells can be found here.
-Anna Paluch
Home Sweet Home
Usually plastic and the environment do not go hand in hand, but artist Aki Inomata uses plastic to create an environment for her little pet hermit crabs in “Why Not Hand Over a “Shelter” to Hermit Crabs?” (2009, 2010-2013).
With the help of CT scanning to render a three-dimensional model of an empty shell, Inomata creates her base and then builds houses atop these shell renderings. These architectural wonders mimic the style of popular dwellings, from Tokyo house-style to Paris apartments. 
With these plastic hermit crab habitats, Inomata wanted to explore not only the hermit crab’s adaptability to new surroundings, but how we adapt as well. Immigration, relocation, even acquiring a new identity or nationality is more or less the human version of growing out of a shell, and finding a new one to call ‘home’.
Not only is this series an amazing symbolic representation of our will to adapt, but also a fun way to learn more about the life and physiology of the hermit crab, as the dwellings are completely see-through. Have you ever wondered what a hermit crab’s body looks like inside its shell?
A video of both the hermit crabs in action and how the artist came about designing the shells can be found here.
-Anna Paluch
Home Sweet Home
Usually plastic and the environment do not go hand in hand, but artist Aki Inomata uses plastic to create an environment for her little pet hermit crabs in “Why Not Hand Over a “Shelter” to Hermit Crabs?” (2009, 2010-2013).
With the help of CT scanning to render a three-dimensional model of an empty shell, Inomata creates her base and then builds houses atop these shell renderings. These architectural wonders mimic the style of popular dwellings, from Tokyo house-style to Paris apartments. 
With these plastic hermit crab habitats, Inomata wanted to explore not only the hermit crab’s adaptability to new surroundings, but how we adapt as well. Immigration, relocation, even acquiring a new identity or nationality is more or less the human version of growing out of a shell, and finding a new one to call ‘home’.
Not only is this series an amazing symbolic representation of our will to adapt, but also a fun way to learn more about the life and physiology of the hermit crab, as the dwellings are completely see-through. Have you ever wondered what a hermit crab’s body looks like inside its shell?
A video of both the hermit crabs in action and how the artist came about designing the shells can be found here.
-Anna Paluch

Home Sweet Home

Usually plastic and the environment do not go hand in hand, but artist Aki Inomata uses plastic to create an environment for her little pet hermit crabs in “Why Not Hand Over a “Shelter” to Hermit Crabs?” (2009, 2010-2013).

With the help of CT scanning to render a three-dimensional model of an empty shell, Inomata creates her base and then builds houses atop these shell renderings. These architectural wonders mimic the style of popular dwellings, from Tokyo house-style to Paris apartments. 

With these plastic hermit crab habitats, Inomata wanted to explore not only the hermit crab’s adaptability to new surroundings, but how we adapt as well. Immigration, relocation, even acquiring a new identity or nationality is more or less the human version of growing out of a shell, and finding a new one to call ‘home’.

Not only is this series an amazing symbolic representation of our will to adapt, but also a fun way to learn more about the life and physiology of the hermit crab, as the dwellings are completely see-through. Have you ever wondered what a hermit crab’s body looks like inside its shell?

A video of both the hermit crabs in action and how the artist came about designing the shells can be found here.

-Anna Paluch

(Source: artandsciencejournal.com)

4 Photos
/ aki inomata anna paluch hermit crabs animals shells plastic scanning technology 3D Printing art science art and science journal ct scan shelter home physiology architecture biology

Windswept by Charles Sowers

Though we cannot physically hold wind or see its swirling forms around us, we can definitely feel it.

In order to help visualize wind-currents, artist Charles Sowers created a kinetic installation consisting of 612 aluminum weather vanes called “Windswept” (2011). These were then meticulously placed on the side of the Randall Museum in San Francisco. Through this installation, we are able to see the patterns in the wind; where the currents go, how they turn, and sometimes how wind can abruptly change direction. This gives us a visual representation of the natural, invisible, force which moves around us, and sometimes with enough force, pushes and pulls us.

As the artist states:

Our ordinary experience of wind is as a solitary sample point of a very large invisible phenomenon. Windswept is a kind of large sensor array that samples the wind at its point of interaction with the Randall Museum building and reveals the complexity and structure of that interaction.

This sort of installation creates a better understanding, and appreciation, of the wind. It is not just one large gust; a single wave can be made up of smaller currents, going in their own directions from the main flow. A dialogue begins to form between the building and the wind, the weather vanes acting as translators.

-Anna Paluch

(Source: artandsciencejournal.com)

Charles Sowersanna paluchwindweather vaneweatherRandall MuseumWindsweptscienceartart and science journal

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