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Art & Design
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🇬🇧 This is a bilingual community on a french instance.
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🇬🇧 Let's discuss art and design!
Join us and
- 📰 share art news
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- 🖼️ share your own art
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- 👁️ share your inspirations
This community is about art in all its form, as well as its influence on culture and its application at the service of society: architecture, music, literature, performances, video games, graphic design...
Check the pinned posts for basic rules and a (wip) list of art related communities 🔗
🇫🇷 Discutons d'art et de design !
Vous pouvez ici :
- 📰 Partager l'actualité
- 💡 Partager des astuces
- 🖼️ Partager vos créations
- 💬 Partager vos opinions
- 👁️ Partager ce qui vous inspire
Le sujet de la communauté concerne toutes les formes d'art, ainsi que leur influence sur la culture et leur application au service de la société : architecture, musique, littérature, performances, jeux vidéos, design graphique...
Pour toute question, suggestion, réclamation, etc. N'hésitez pas à utiliser le sujet épinglé.
✅ Les règles de l'instance s'appliquent bien évidemment.
founded 2 years ago
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L'affiche du festival Nouvelles Vagues de Biarritz a probablement été générée par IA
(www.nouvelles-vagues.org)
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Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations
(www.thisiscolossal.com)
Influenced by the ornate decor of Islamic mosaics and architecture, Anila Quayyum Agha creates large-scale installations that utilize the power of light and shadow to transform a room. Laser-cut steel structures, like her seminal work “Intersections,” take a simple cube as a starting point. The artist incises elaborate patterns from the surface, then situates a light inside, which casts shadows onto the surrounding walls.
Anila Quayyum Agha: Geometry of Light, which opens later this month at the Seattle Asian Art Museum, marks the first time the Pakistani-American artist’s work has been exhibited in the Pacific Northwest. Based in Indianapolis, she is known for exploring the ever-evolving relationships between cultural identity, gender, art, and spirituality.
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Masterpiece Art Fair, London
“Through the use of light and color, the artist’s ornate designs have the ability to turn spaces into ethereal environments reminiscent of traditional sacred spaces through the use of lanterns or mashrabiya, wooden lattice screens that diffuse light, casting intricate shadows while allowing for the flow of air and creating intimacy,” the museum says.
Geometry of Light will include three of Agha’s space-transforming installations, plus a number of framed, mixed-media paper works. The exhibition runs from August 27 to April 19, 2026, and you can find more on the artist’s website and Instagram.
“This is Not a refuge! (2)” (2019), laser-cut, resin-coated aluminum and light bulb, 93 x 58 x 72 inches. Courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Columbia Museum, Columbia, North Carolina
“A Beautiful Despair (Blue)” (2021), lacquered steel and halogen bulb, 60 x 60 x 60 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
“Liminal Space” (2021), laser-cut and lacquered steel, 65 x 65 inches. Image courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
Detail of “Liminal Space” (2021). Photo by Steve Watson / Amon Carter Museum of American Art, Fort Worth
“This is Not a refuge! (2)” (2019), laser-cut, resin-coated aluminum and light bulb, 93 x 58 x 72 inches. Courtesy of Sundaram Tagore Gallery, NYC, © the artist. Photo courtesy of Masterpiece Art Fair, London
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Laser-Cut Steel Forms Radiate Ornate Patterns in Anila Quayyum Agha’s Immersive Installations appeared first on Colossal.
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Kirsty Elson’s Spirited Creatures Breathe New Life into Weathered Driftwood
(www.thisiscolossal.com)
Wander into Kirsty Elson’s Cornwall studio, and you’ll likely greet a menagerie of creatures alongside scraps of driftwood and rusted bits of metal. Scouring local beaches and embankments, the artist (previously) has an impeccable ability to envision a piglet’s ear or a dog’s snout from a weathered hunk of timber. Once in her studio, quirky characters emerge from scratched and worn materials, their lively personalities shining through the signs of age.
Elson sells some of her sculptures on her website, and you can follow her work on Instagram.
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article Kirsty Elson’s Spirited Creatures Breathe New Life into Weathered Driftwood appeared first on Colossal.
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In Miniature Models, Thomas Doyle Envisions an Unsettling Future of Technological Takeover
(www.thisiscolossal.com)
If we were to travel 500 years into the future, what would the monuments decorating public parks and town squares commemorate? Thomas Doyle takes us on an unnerving journey to imagine the culture we might encounter should our endless fascination with technology continue.
The New York-based artist (previously) toys with perception as he sculpts miniature works at 1:43 scale and smaller. His new dystopian series, Clear History, invokes classical Greek and Roman sculpture, although the venerated figures appear more as a warning than an ideal. Sharp rays pierce through a woman’s head in “Clickthrough rate,” for example, while the hunched protagonist of “Opt in” demonstrates the neck-cranking posture many of us know all too well.
“Infinite scroll” (2024), mixed media, 22 x 13.8 x 13.8 centimeters
Interested in the long tail of culture, Doyle frequently looks to the past to better understand the consequences of our present. “I’m fascinated by the way we are hurtling toward what seems to be a new way of being human, leaping without looking, hoping for the best,” he says.
In each of the mixed-media scenes, tiny figures peer up at or sit near the weathered statues as they consider a world that’s come and gone. “The trappings of past cultures are all around us, morphed and made nearly unrecognizable over centuries,” the artist adds. “I’ve tried to trace the ways in which today’s technologies will reverberate over time. What will grow from the seeds we plant today? What becomes a venerated symbol? What serves as a cautionary myth?”
Doyle currently has a few models on view at the Ukrainian National Museum in Chicago, and he very generously shares glimpses behind the scenes on Instagram.
“Acceptance criteria” (2024), mixed media, 21 x 15 x 15 centimeters
“Opt in” (2024), mixed media, 20 x 20 x 20 centimeters
“Switch profile” (2024), mixed media, 20 x 12.5 x 12.5 centimeters
“Show hidden” (2024), mixed media, 28 x 30 x 30 centimeters
“Session timeout” (2024), mixed media, 25 x 14.5 x 14.5 centimeters
“Bad gateway” (2024), mixed media, 20 x 17.5 x 17.5 centimeters
“Use case” (2024), mixed media, 20 x 14 x 14 centimeters
“Temporary redirect” (2024), mixed media, 21 x 26 x 26 centimeters
“We value your privacy” (2024), mixed media, 28 x 17.5 x 17.5 centimeters
“Rollback” (2024), mixed media / 20 x 16 x 16 centimeters
Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $7 per month. The article In Miniature Models, Thomas Doyle Envisions an Unsettling Future of Technological Takeover appeared first on Colossal.
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A’Peel - Australian Brand Transforming Peel Waste Into Premium Spirits by Studio Guild
(worldbranddesign.com)
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