Incredibly detailed metallic sculptures by carefully manipulating aluminum wire. Each figure in his Human series of sculptures presents a remarkable attention to the delicate form of the human body (including wispy locks of hair) as well as the naturally flowing condition of draped garments.
Park's sculptures capture the equally realistic wrinkles of scrunched up fabric and the curving details of one's body. He is also as meticulous about representing a believable figure in a plausible position as he is about the placement of each wire strand. Upon close inspection, one can see just how tightly and uniformly the wires are composed, reflecting the time-consuming effort put into each piece. Like the rings of a tree, the wire designs offer a visual sense of time and texture.
Heatherwick, crossing architecture, sculpture, design, engineering and even public art. He snared the top prize for the British Pavilion at the Shanghai World Expo in 2010, as well as a slew of other awards, and he design the 2012 Olympic cauldron for London’s Olympic games. On view at Haunch are four of his mirror-polished, nickel-plated benches, titled Extrusions. They are the world’s first single component of metal furniture extruded by machine and made without fixtures or fittings, as if squeezed out in a single stroke. Each bench undergoes 300 hours of polishing.
“With Extrusions, each piece is entirely unique, and these are the largest aluminum extrusions ever made,” Heatherwick offered. “The studio's role was to design a simple seat profile, find the appropriate technology and leave the 10,000 tons of pressure to do the rest of the work,” he said.
There's something incredibly intriguing about the computerized structure that is both enchanting, mesmerizing, and aesthetically alluring. To add to the installation's fascinating charm, U-Ram accompanies it with an intriguing tale, regaling a fictional history of the sculpture's origins of this "brand new species of mechanized sentient creatures." Una Lumino is a creation straight out of a science-fiction novel.
Alice Auaa is a dark Japanese brand that has its own vein of humor. Think Mickey Mouse-gone-Goth. But not Mickey with cutesy batwings or anything, but more like a real dead mouse inside a Mickey ears hat and a tiny straitjacket. It’s a brand that until recently was quietly putting along, buzzing just under the surface of the high-fashion crowd…but like a zombie, it’s thrusted its fists out from under the damp earth and it’s aching for attention.
The Alice Auaa tokyo “salon”, which opened 6 months ago in Sendagaya (a neighborhood on the fringe of Harajuku). It is technically a shop, but since it requires customers to have an appointment first, it’s more like a salon. There’s no sign out front, but you’ll know you’re there from the decoration in the window that looks like a prop from a horror movie or an art installation!
Stainless steel, 41 x 19 x 12 in.
It visually challenges the viewers on several levels. While it appears to be a shiny, lightweight, Mylar balloon, it is actually quite heavy and hard. Its mirror like surface also seduces the viewer, much as shiny silver in a jewelry store window would. As such, Rabbit addresses the heyday of luxury and consumerism in the 1980s. Rabbit surface also calls to mind the use of shiny metals in both historical and social contexts. According to Koons, polished objects have often been displayed by the church and by wealthy people to set a stage of both material security and enlightenment of spiritual nature; the stainless steel is a fake reflection of that stage.
Artificial Rock No 121, 2007
Permanent display at the Asia Society Hong Kong
Zhan Wang's most celebrated work to date is his series of "artificial rocks" – stainless steel replicas of the much revered "scholar's rocks" traditionally found in Chinese gardens. The mirrored surfaces of these often-monumental objects absorb the viewer and its surrounding environment, enticing them to become part of the work, an abstraction and distortion of reality, thus creating a visual interplay between positions of tradition and modernity. He further explores his fascination with material and reflection in a series of works titled "Urban Landscape" in which he recreates models of major cities, such as London, Beijing and Chicago – using kitchenware and cutlery. The process of miniaturizing an urban sprawl through the use of domestic and ordinary objects calls forth the basic necessities of life, despite the rapid modernization of contemporary society.