Barcelona-based sculptor Xavier Mañosa created Skate Fails, a series of ceramic sculptures that look like Dali-esque melted skateboards. Read the rest
From the 1930s to the 1970s, Aerolux Light Corporation manufactured "artful gas-discharge light bulbs," lightbulbs containing tiny sculptures that glowed when switched on. From Wikipedia:
(via This is Colossal)
Aerolux gas discharge light bulbs contained low pressure gas, either neon or argon, or a mixture of the two. Also within the bulb were metal sculptures coated with phosphors. These phosphors fluoresced when excited by glow discharge. Because glow discharge occurs readily at 110-120 volts AC, one could use these bulbs in standard household lamps in the United States.
I recently stumbled across Dutch designer Rommy Kuperus’ work and I can’t get enough of it. Her purses and accessories look good enough to eat (literally), and there’s a really great sense of humor to her work:
Julian Oliver is a playful and media-savvy security researcher; previously, he documented hidden cell-phone towers in bad disguises and produced a hand-grenade shaped "transparency device" that spied on everything going on in the room. Read the rest
Shinri Tezuka, 27, sculpts candy into beautiful, creepy, and very sweet creatures like goldfish and octopuses. The centuries-old practice is called amezaiku, but according to Great Big Story, "today there are only two artists left in Tokyo. Tezuka hopes his elaborate goldfish, frog and octopus designs will inspire the next generation of candy crafters to keep the tradition alive."
(Sachs had) mounted two Space Program exhibitions—the moon (at Gagosian Gallery in Beverly Hills) in 2007 and then Mars (at the Park Avenue Armory in New York) in 2012. There were the blue Tiffany Glock and orange Hermès hand grenade, and also a Chanel chain saw and a Prada toilet. And a foam-core R2-D2, which I’d collected pictures of as inspiration for building my own DIY Artoo, a decade before I knew who Sachs was.
We had a lot in common. We’re both obsessive organizers. We both make replicas. And when we’re in the shop and can’t think of what to work on, we build infrastructure—stands, shelves, benches. Sachs told me he’d cribbed construction ideas from MythBusters Now he uses my workshop when he’s on the West Coast, and I use his when I’m back east. Our wives describe our relationship status as “dating.”
When I look at Sachs’ workshop, what’s more familiar to me than the tools are the rituals, the signs of how Sachs turns prosaic objects and materials into art.