Aa6c31ed34a667aa1d9c448ee05cf916.jpg (500×381) Laser cut origami. LaserOrigami: laser-cutting 3d objects. Diagrams & Notes. Suricata Design Studio. Verónica Martínez | Creations. Tree by Nic Parnell. What they actually are is hat stands made of wood. But judging from the color they could be a fluorescent, anorexic version of the Barbapapa family. The secret? An experimental coating developed by the young Nic Parnell. A provocative interpretation, sure, but what's behind this operation is the question that Nic Parnell has long been trying to answer: does perception of the value of a material change depending on how it's coated? In his project "Tree", Nic started off with twenty-something branches, complete with bark and nodes, that he recovered from the overgrown mane of a sycamore in West London that would in any case have been pruned.
Perception of the value of wood has always been associated to a number of variables: grain, character, strength. Currently Nic is working on a process of electrostatic flocking, experimenting with the new properties of its particular form and texture. Photos via nicparnell.com. Insurgency by John Rainey. John Rainey presented collection "Insurgency" at the exhibition of graduate projects of the Royal College of Art. A series of hybrid objects that explore the instability of identity in the fusion of real and virtual. We’re talking about a movie from the 90s. Virtual reality would develop primarily for videogames, while it’s social networks that would later explode into a full-fledged phenomenon.
And simulation would thus take over the territory of human relations. So much so that the boundary between real and virtual, public and private, is now very unstable. His series is populated by embryos at a halfway between human and digital, created from photos of a real Facebook profile and later re-elaborated and reproduced on ceramic with high definition 3D printers and machines for rapid prototyping. Photos via johnrainey.co.uk. Julia Dault’s site-specific installations. Catapults ready to release all of their chromatic and dynamic energy. Instead of painting on flat canvases, Julia Dault creates site-specific installations by rolling sheets of plexiglass or formica and covering them with unusual materials such as spandex, pleather, vinyl or acrylic paint.
Tied togoether with strings and knots, the sheets display the chromatic complexity of their surfaces, that continuously change to the eye of the beholder, establishing an ambiguous relationship with him, as if all of a sudden they could jump in the air or collapse. Photos via juliadault.com.