Wednesday, January 25th, 2012

He Made She Made Gallery Launch

Design Clarity alumni Bent Patterson and Laura Kepreotis recently joined creative forces with two fellow designers to form Sydney-based collective “He Made She Made”.

Situated in Darlinghurst, their soon-to-be open gallery provides a platform to showcase fresh, creative and under-represented talent by, “Bringing to life objects that might be considered art, but often encompass the functionality and utility of a design piece.”

We wish them all the best in their new venture and look forward to checking out the latest in Sydney art/design talent.

He Made She Made will launch to the public on 31/01/2012.
He Made She Made
70 Oxford St, Darlinghurst
www.hemadeshemade.com …

Thursday, January 19th, 2012

Pixel Building Melbourne

If you ever chat with someone who declares that environment conscious architecture can’t be a beacon of bold, colourful design, direct them to the Pixel Building in Melbourne, Australia. The country’s first carbon neutral office building of its kind has impressive green credentials and manages to be a stunning symphony of form and colour. The facet-shaped “wings” are just beautiful and the colour palette feels like it was plucked from an Australian bloom (perhaps a pincushion or protea?) Overall, it is a building bursting with colour and, infectious energy. We love that such a technically advanced building doesn’t have to be stainless steel to be sleek, modern and simply gorgeous.

pixelbuilding.com.au

(photography by ben hosking via weheart)
copy via plentyofcolour…

Monday, January 16th, 2012

Seemingly Impossible Human Installations

French artist Philippe Ramette believes nothing should ever be fake. His impossible, gravity-defying poses might look like classic Photoshop, but look a little closer and you’ll see evidence that it’s not. “You see a tension in my hands, my red face is far from serene as the blood rushes to it, my suit is ruffled,” said Ramette.

In France, Ramett’s bizarre images have been compared to the work of Buster Keaton and the world of silent cinema. For him, they are a statement about gravity, weightlessness, and man’s relationship to the landscape.

He goes to extraordinary lengths to create his implausible set-ups, building hidden metal supports that he calls “sculpture-structures.” Every image is the exact reproduction of one of his drawings; sketches that he considers to be film storyboards, reconstructed by his faithful team while he directs the image. “I never question whether it’s going to be complicated,” he says.

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