Falácia
Feito pela 5.5 Designers, os papéis de parede podem ser: um jogo da velha, um labirinto ou um caça palavras e que podem ser colocados em locais onde as pessoas possam ficar entediadas, como uma sala de espera ou até mesmo no banheiro.
Boa idéia!
Clique na imagem para ampliar
via yatzer
Spot da Clemenger Brisbane para a mostra de Andy Warhol na Galeria de Arte de Queensland.
via 3dreams
Copy da nota da Folha Online:
A ação dos criminosos que levaram duas das principais obras do acervo do Masp (Museu de Arte de São Paulo) levou três minutos. A informação foi antecipada pela colunista da Mônica Bergamo, da Folha de S.Paulo. De acordo com a SSP (Secretaria da Segurança Pública), a ação aconteceu entre as 5h09 e 5h12 desta quinta-feira. Três homens realizaram o furto das obras “O Lavrador de Café“, obra de 100×81 centímetros de Portinari, e “O Retrato de Suzanne Bloch“, de Picasso, quadro de 65×54 centímetros.
“O Retrato de Suzanne Bloch”, de Picasso
“O Lavrador de Café”, obra de Cândido Portinari
Quando desenho uma linha reta e consigo cortar sem estragar já fico feliz. Agora tranformar A4 em 3D, dai já é demais! =)
Se interessar, leia mais sobre o trabalho, texto retirado do site petercallesen.com:
My paper works have lately been based around an exploration of the relationship between two and three dimensionality. I find this materialization of a flat piece of paper into a 3D form almost as a magic process - or maybe one could call it obvious magic, because the process is obvious and the figures still stick to their origin, without the possibility of escaping. In that sense there is also an aspect of something tragic in most of the cuts. Some of the small paper cuts relate to a universe of fairy tales and romanticism, as for instance “Impenetrable Castle” inspired by Hans Christian Andersen’s fairy tale “The Steadfast Tin Soldier“, in which a tin soldier falls in love with a paper ballerina, living in a paper castle. Other paper cuts are small dramas in which small figures are lost within and threatened by the huge powerful nature. Others again are turning the inside out, or letting the front and the back of the paper meet - dealing with impossibility, illusions, and reflections. I find the A4 sheet of paper interesting to work with, because it probably still is the most common and consumed media and format for carrying information today, and in that sense it is something very loaded. This means that we rarely notice the actual materiality of the A4 paper. By removing all the information and starting from scratch using the blank white 80gsm A4 paper as a base for my creations, I feel that I have found a material which, on one hand, we all are able to relate to, and which on the other hand is non-loaded and neutral and therefore easier to fill with different meanings. The thin white paper also gives the paper sculptures a fragility which underlines the tragic and romantic theme of the works.
Mais no petercallesen.com
via haha.nu
