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Some figurative sculptors carve their artworks from unforgiving stone while others carefully morph the human form from soft blocks of clay, but artist Jonty Hurwitz begins with over a billion computer calculations before spending months considering how to materialize his warped ideas using perspex, steel, resin, or copper. Born in Johannesburg in 1969, Hurwitz now lives and works in London where he is somewhat of a renaissance man, focusing both on his artwork and micro-loan website Wonga which he co-founded in 2007. His anamorphic sculptures rely on scans of objects (hands, faces, frogs) that are then distorted digitally and fabricated, but when placed in front of a cylindrical mirror the projected reflection reveals the original object. Still, other works deal with pixelated or sliced human forms that are only viewable from a single perspective. A scientist at heart, Hurwitz explains to me that his artwork is his way of “expressing calculations visually,” and also a way to experiment with cutting-edge manufacturing and fabrication technologies. Of the more mind-bending anamorphic pieces he shares: For the anamorphic pieces its an algorithmic thing, distorting the original sculptures in 3D space using 2πr or πr3 (cubed). Much of it is mathematical, relying on processing power. There is also a lot of hand manipulation to make it all work properly too as spacial transformation have a subtle sweet spot which can only be found by eye. Generally I will 3D scan my subject in a lab and then work the model using Mathematica or a range of 3D software tools. I think the π factor is really important in these pieces. We all know about this irrational number but the anamorphic pieces really are a distortion of a “normal” sculpture onto an imaginary sphere with its centre at the heart of the cylinder. I strongly urge you to watch the two embedded videos above to get a sense of how remarkably precise each artwork appears up close. What I’ve shown you here is honestly just the tip of the iceberg, please head on over to his website, Facebook, Saatchi profile, andYoutube to see more of his artwork. He’ll also have a piece on display at the Kinetica art show in London in February. All the photography above was taken by Niina Keks, Otto Pierratto, Richard Ivey, Alex Brenner and Jonty Hurwitz and provided courtesy of the artist. UPDATE: If you’d like to read more about the history of anamorphosis in art, Wikipedia has a great article, tracing the known roots of the technique back to a 1485 artwork by Leonardo da Vinci. You can also explore the anamorphism tag here on Colossal. UPDATE 2: I want to include one more quote from Hurwitz regarding the historical context of anamorphosis: I have always been torn between art and physics. In a moment of self-doubt in 2003, I wondered into the National Portrait Gallery and stumbled across a strange anamorphic piece by William Scrots (Portrait of Edward VI, 1546). Followed shortly down the isle by The Ambassadors (Hans Holbein, 1533). My life changed forever. I rushed home and within hours was devouring the works of Escher, Da Vinci and many more. In a breath I had found “brothers” in a smallish group of artists spanning 500 years with exactly the same dilemma as me. Within two months I was deep in production of my first work. My art rests on the shoulders of giants, and I am grateful to them.
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Before inviting Scott Carter to show in your exhibition space, be sure you’ve done your homework and have a stellar insurance policy, the Chicago artists’ medium of choice is drywall and wood cut directly from the walls of the gallery. Blurring the lines between sculpture and installation Carter first develops digital prototypes which he then translates into the myriad components needed to construct the furniture and other sculptures that comprise each exhibition. The eviscerated and ragged walls then form the backdrop to each piece like a curious set of physical blueprints, not unlike wooden insect skeleton models you might have played with as a kid. Scott currently has work at Beers.Lambert Gallery in London through January 26th and will have another solo show there in 2014. See much more of his work via his website (flash).
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A Colorful Winter is a new series of works by photographer Florent Tanet currently on display at the famous Le Bon Marché department store in Paris through February 16th. The clever arrangements of common fruits and vegetables against pastel backdrops play with color, scale, and shape creating whimsical still lifes meant to act as a reprieve from a dreary winter. If you liked this also check out the work of Sarah Illenberger or Sakir Gökçebag. Also don’t miss Carl and Evelina’s Homage to Calder. You can see much more Tanet’s work on his website. (via ignant)
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Illustrator Dima Rebus was born in a small town in Russia in 1988 and graduated from art school in Moscow in 2011. He now works on a wide range of projects ranging from his personal artwork to illustrations for magazines and other publishing houses. You can see much more over on Live Journal. (via l’acte gratuit)
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Artist Ed Fairburn utilizes the chaotic patchwork of roads, trains, and rivers printed on maps as the framework for his large-scale portraits. Almost like a sculptor carving a subject from a block of stone, or a constellation highlighted in a clump of stars, Fairburn uses meticulous ink or pencil crosshatching to create portraits hidden amongst the topographical features. You can see much more of his work over on Facebook. (via artchipel)
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