Huawei, a global information and communications technology solutions provider, made a grand statement recently outside of the entrance to the Mobile World Congress 2012 in Barcelona. To promote their newest product, the Ascend D Quad, the company commissioned London’s Machine Shop to create a sculpture of the mythical winged horse Pegasus out of 3,500 smartphones. After 720 hours of work, the monumental sculpture was unveiled and made quite the statement about the company’s strong presence in the smartphone market.
The frame of the sculpture is constructed out of 3,500 supporting rods that together total about 2,000 feet and the phones are attached to the frame with sticky pads. The piece stands 19 feet tall with a wingspan of 16 feet and the clear film was left on the screens to add to the radiance of the sculpture.
Korean artist Yong Ho Ji uses old tires, steel, wood, and styrofoam to create these masterful scuptures. His sculptures generally represent endangered and mythological species blended perfectly with a near human physical structure and features of animals known to us with the help of meticulously cut strips of tire representing flesh, muscles and curves of the bodies. You can see more of his work at his web site.
Yong Ho Ji is a Korean sculpture who was born in 1978. He did his BFA in sculptures from the Hongik University in Seoul and later moved to New York to complete his MFA in fine arts from New York University.
He says “My practice is primarily concerned with the notion of the imagined landscape. I present man-made objects and natural materials simultaneously to form carefully and meticulously composed installation works. I capitalize on intrigue taking objects out of context reinventing their use, pushing the viewer to see beyond what I present before them, a glass could be interpreted as a lake or a metal bracket a cliff. The materiality of the objects that I place before the viewer and the dissemination of them is integral to the reading of the work. There is a strong dialogue between the materials and their placement within the space.
Underpinning my practice are a series of tensions, playing with the idea of the familiar vs. the unfamiliar, the upturned glass of water an example of this. Elements are supported, propped and pushed against each other in order to create these tensions. The very existence of the work as I present it is under jeopardy from the moment I place it in the space. There is a play off between the calm considered, structured composition and the tension caused by just the slightest interference from the viewer. The spectator looks on knowing that even their smallest intrusion on the work could cause a catastrophe, breaking or fracturing its existence.”
Haroshi makes his art pieces recycling old used skateboards. His creations are born through styles such as wooden mosaic, dots, and pixels; where each element, either cut out in different shapes or kept in their original form, are connected in different styles, and shaven into the form of the final art piece. Haroshi became infatuated with skateboarding in his early teens, and is still a passionate skater at present. He knows thoroughly all the parts of the skateboard deck, such as the shape, concave, truck, and wheels. He often feels attached to trucks with the shaft visible, goes around picking up and collecting broken skateboard parts, and feels reluctant to throw away crashed skateboards. It’s only natural that he began to make art pieces (i.e. recycling) by using skateboards. To Haroshi, his art pieces are equal to his skateboards, and that means they are his life itself. They’re his communication tool with both himself, and the outside world.
The most important style of Haroshi’s three-dimensional art piece is the wooden mosaic. In order to make a sculpture out of a thin skateboard deck, one must stack many layers. But skate decks are already processed products, and not flat like a piece of wood freshly cut out from a tree. Moreover, skateboards may seem like they’re all in the same shape, but actually, their structure varies according to the factory, brand, and popular skaters’ signature models. With his experience and almost crazy knowledge of skateboards, Haroshi is able to differentiate from thousands of used deck stocks, which deck fits with which when stacked. After the decks are chosen and stacked, they are cut, shaven, and polished with his favorite tools. By coincidence, this creative style of his is similar to the way traditional wooden Japanese Great Buddhas are built. 90% of Buddha statues in Japan are carved from wood, and built using the method of wooden mosaic; in order to save expense of materials, and also to minimize the weight of the statue. So this also goes hand in hand with Haroshi’s style of using skateboards as a means of recycling. Also, although one is not able to see from outside, there is a certain metal object that is buried inside his three-dimensional statue. The object is a broken skateboard part that was chosen from his collection of parts that became deteriorated and broke off from skateboards, or got damaged from a failed Big Make attempt. To Haroshi, to set this kind of metal part inside his art piece means to “give soul” to the statue. “Unkei,” a Japanese sculptor of Buddhas who was active in the 12th Century, whose works are most popular even today among the Japanese people; used to set a crystal ball called “Shin-Gachi-Rin (Heart Moon Circle)” in the position of the Buddha’s heart. This would become the soul of the statue. So the fact that Haroshi takes the same steps in his creation may be a natural reflection of his spirit and aesthetic as a Japanese
Odd Fauna is Emma Sancartier, from San Francisco, USA, she is an illustrator who also makes hand cast beast sculptures. She was asked by the game company Villain to do a series of sculptures to promote their new game Lil Birds. She sculpted, cast and painted a whole set of adorably cute, fat little birds!
Shintaro Ohata was born in 1975 in 1975 in Hiroshima, Japan and is an artist who depicts little things in everyday life like scenes of a movie and captures all sorts of light in his work with a unique touch: convenience stores at night, city roads on rainy days and fast-food shops at dawn etc. His paintings show us ordinary sceneries as dramas. He is also known for his characteristic style; placing sculptures in front of paintings, and shows them as one work, a combination of a 2-D and 3-D world. He says that it all started from when he wondered “I could bring the atmosphere or dynamism of my paintings with a more different way if I place sculptures in front of paintings”. Many viewers tend to assume that there is a light source set into his work itself because of the strong expression of lights in his sculpture.