C.S. Lewis, The Great Divorce (via thismtnsoul)
Dieter Rams, Braun control unit Regie 500/501, 1969.
Roberto Patelli, album artwork for The Thelonius Monk story, 1964. From the Philips Twen record series, Germany.
Richard Anuszkiewicz, Crimson Portal, 1970, Acrylic on Canvas. Private Collection.
Willy Fleckhaus, album artwork for Miles Davis, 1962. From the Philips Twen record series, Germany.
Pin up illustrations of Alberto Vargas c. 1940s
These latest sculptures by New York-based artist Amy Brener are something magical. Made of a combination of materials like resin, pigment, and glass (Brener describes these as “totemic structures…of an imagined future,”) these objects combine natural and artificial aesthetics to create something familiar yet strangely distant from a what we know. As the artist describes:
“Some sculptures may be markers for an unknown border, while others hint at vehicular function. Some surfaces are ordered into compositions that allude to touch-screen platforms, energy cells and the digital logic of a different reality. Other surfaces are left to chance: to crystallize, crack under pressure and weather with time. Common sculpture materials such as resin and concrete shed their associations and morph into geological forms. I enforce approximations of natural processes onto my sculptures. Notions of sedimentation, erosion and fossilization come into play.”
- Erin Saunders