Tommy Støckel, the Danish-born, Berlin-based sculptor, uses off-the-shelf materials like printer paper and styrofoam to build environments that look startlingly digital. Arranged in mandala-like patterns on the gallery floor, his meticulously modeled boulders, lattices, and mineral formations look straight out of a late-’90s video-game environment.
Undoubtedly, some of the people who see the Sex Invaders photo exhibit at Hionas Gallery in New York this month, will be hard pressed to say which is a bigger turn-on: the bikini-clad models or the images of Storm Troopers and Donkey Kong. The collection of eight photographs is the latest installment from the “Ultravelvet Collection,” the work of LA-based couple Eric Hajjar and Meredith Rose. Their work is a fusion of two popular but unrelated subjects, in this case, video games and erotica. In some of the pictures, images of bikini-clad women are overlaid with scenes from Space Invaders and Pac Man. In others, the models appear to be wearing Darth Vader masks.
The shoes you find in the shoe store are so boring. The designs on Aaron Firestein and Raaja Nemani’s Bucketfeet’s canvas sneakers come from street artists all over the world, giving those artists a reliable source of income and giving you unique stylish kicks that everyone will ask about.
When Cesar Kuriyama started selecting one second of video to represent each day, it changed his life. Now he’s building an app he hopes will change yours.
While the title itself disavows any deeper meanings, Russian Victoria Tsarkova’s new series, “No Politics. Just a Joke” clearly has something on its mind. After all, you don’t draw Pope Benedict XVI as a Heath Ledger’s Joker without intending to ruffle some feathers.
Rain Room, an installation by digital art collective Random International, is an indoor gallery where it—you guessed it—continuously rains.
Artist Eric Daigh used exactly 22,765 pushpins to create a portrait of Pinterest founder Ben Silbermann for a feature in Fast Company’s 2012 Design Issue. Co.Design interviewed Eric Daigh to learn more about his creative process.
Now, Daigh has his pushpin mosaics down to a science. He photographs his own portrait, runs it through a software conversion process that creates (red, yellow, blue, black, and white) dots and then he examines it at the pixel level for algorithmic abnormalities, which he’s gotten very, very good at spotting. Whereas the human eye will want a shadow to contain a smooth gradient of color—maybe blue to black—computers tend to render these blocks out into distracting patterns that need to be hand-smoothed.