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199 Notes

Brazilian twin artists Os Gemeos are always taking it up a notch. Last May, they adorned a Boeing 737 with the character-driven art to escort the Brazilian team to the FIFA World Cup (see our coverage here). In August, the brothers took on their biggest project to date: an enormous 75-foot-tall, 360-degree mural that measures a total of 23,500 square feet. Envisioned as a non-profit public artwork for the Vancouver Biennale, the piece is intended to leave a lasting mark on the Ocean Cement silos amid the industrial landscape of Vancouver’s Granville Island. The project was funded via a crowd funding campaign and is included in the Vancouver Biennale’s 2014-2016 programming as part of a series of large-scale public works they’re calling an Open Air Museum. Granville Island attracts over 10 million annual visitors and the Biennale’s organizers hope that the scale of this project will make it a major art destination for years to come. See more on Hi-Fructose.

193 Notes

In our next issue we present a major feature on the late H.R. Giger written by Matt Kennedy. Also in this issue is a special Giger memoriam by Clive Barker. We’ll show you more teasers tomorrow but, in case you are up late and need a late night spoiler: http://store.hifructose.com/products/hi-fructose-volume-33-pre-order

In our next issue we present a major feature on the late H.R. Giger written by Matt Kennedy. Also in this issue is a special Giger memoriam by Clive Barker. We’ll show you more teasers tomorrow but, in case you are up late and need a late night spoiler: http://store.hifructose.com/products/hi-fructose-volume-33-pre-order

1084 Notes

Originally from Korea, David Choong Lee (featured in HF Vol. 30) has been a staple of San Francisco’s art scene for the past 20 years. Known for his elaborate assemblages composed of individual paintings on boxes on different depths, Lee deftly blends figuration with abstract dreamscapes, inserting realistically-rendered figures into explosions of shapes and kaleidoscopic colors. For his latest body of work, however, Lee emptied his paintings of human presence. His solo show “Cosmic Dust,” opening at Luna Rienne Gallery in San Francisco on September 13, will feature a series of acrylic paintings on canvas that focus on Lee’s intergalactic worlds — untouched and uninhabited. Honing in on the psychedelic imagery that once served as a background for his figures, he unfurls pools of liquid rainbows, mysterious glowing orbs and powerful beams of light. His new work gives the sensation of touching down on another planet. See more on Hi-Fructose.

1313 Notes

1029 Notes

laughingsquid:

Wonderfully Intricate Laser Cut Wood Art

558 Notes

septagonstudios:

Rubbishmonkey
TIME TO GO

septagonstudios:

Rubbishmonkey

TIME TO GO

666 Notes

Design collective Numen/For Use was incepted in 1998 as a way for its members — industrial designers Sven Jonke, Christoph Katzler and Nikola Radeljković — to push the boundaries of architecture, design and conceptual art. They’ve collaborated on everything from furniture design to elaborate installations that invite the viewers to break the norms of how they ordinarily interact with space. Rarely do we see adults take off their shoes to bounce and play, but Numen invites their audiences to do just that. Their latest piece,String in Vienna is an inflatable, bounce house-like structure with an elaborate grid of cords that allow viewers (more aptly, participants) to defy gravity. Their other recent works include a levitating cave made out of clear tape in Tokyo and another inflatable structure with hammock-like netting hung strategically for optimal bouncing in Yokohama, Japan.

See more on Hi-Fructose.

351 Notes

John Grade is a Seattle-based artist who creates monumental installations that significantly alter the viewers’ experience of architecture and nature. Gritty, industrial materials are Grade’s trademark. He likes his work to have weight in an almost precarious sort of way, as if the piece might give and crush the viewer at any second. Inspired by the land art movement of the ’60s and ’70s, Grade’s work echoes the scale and impact of famous Earthworks like Spiral Jetty, though most of his interventions take place inside of museum and gallery environments rather than the land itself. Read more on Hi-Fructose.

241 Notes

Sarah A. Smith pushes the technical possibilities of gold leaf with her drawings and sculptures. See more on Hi-Fructose.

330 Notes