lives of grassMATHILDE ROUSSEL Soil, wheat seeds, structure from recycled metal, fabric. I know these pieces have been popping up all over the tumblr eco-system for months now, inspiring some great gifs highlighting the growth of grass on the figure, but mostly as an orphaned image with out credit, attribution or information. I’m also really interested in the way any artist moves from ideation / sketch to resolved piece, so I culled together some of the artist’s drawings, the artists words and installation views—The Lives of Grass sculptures show the effects of transformation of the material as a metaphor of the transformation of the body. Time sculpts the forms, makes them change and then decay. In Egyptian Mythology, Osiris is the God of renewal, the one who eternally comes back to life. He is also the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality. Photos © Matthieu Raffard. Exhibited at the 2010 Crossing the Line FIAF Festival at Invisible Dog Gallery, Brooklyn, NY ; at the French Institute Alliance Française FGH Theater hall, NY ; at Brooklyn Utopias: Farm City at The Old Stone House Gallery, Brooklyn, NY and at the Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.
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lives of grassMATHILDE ROUSSEL Soil, wheat seeds, structure from recycled metal, fabric. I know these pieces have been popping up all over the tumblr eco-system for months now, inspiring some great gifs highlighting the growth of grass on the figure, but mostly as an orphaned image with out credit, attribution or information. I’m also really interested in the way any artist moves from ideation / sketch to resolved piece, so I culled together some of the artist’s drawings, the artists words and installation views—The Lives of Grass sculptures show the effects of transformation of the material as a metaphor of the transformation of the body. Time sculpts the forms, makes them change and then decay. In Egyptian Mythology, Osiris is the God of renewal, the one who eternally comes back to life. He is also the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality. Photos © Matthieu Raffard. Exhibited at the 2010 Crossing the Line FIAF Festival at Invisible Dog Gallery, Brooklyn, NY ; at the French Institute Alliance Française FGH Theater hall, NY ; at Brooklyn Utopias: Farm City at The Old Stone House Gallery, Brooklyn, NY and at the Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.
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lives of grassMATHILDE ROUSSEL Soil, wheat seeds, structure from recycled metal, fabric. I know these pieces have been popping up all over the tumblr eco-system for months now, inspiring some great gifs highlighting the growth of grass on the figure, but mostly as an orphaned image with out credit, attribution or information. I’m also really interested in the way any artist moves from ideation / sketch to resolved piece, so I culled together some of the artist’s drawings, the artists words and installation views—The Lives of Grass sculptures show the effects of transformation of the material as a metaphor of the transformation of the body. Time sculpts the forms, makes them change and then decay. In Egyptian Mythology, Osiris is the God of renewal, the one who eternally comes back to life. He is also the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality. Photos © Matthieu Raffard. Exhibited at the 2010 Crossing the Line FIAF Festival at Invisible Dog Gallery, Brooklyn, NY ; at the French Institute Alliance Française FGH Theater hall, NY ; at Brooklyn Utopias: Farm City at The Old Stone House Gallery, Brooklyn, NY and at the Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.
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lives of grassMATHILDE ROUSSEL Soil, wheat seeds, structure from recycled metal, fabric. I know these pieces have been popping up all over the tumblr eco-system for months now, inspiring some great gifs highlighting the growth of grass on the figure, but mostly as an orphaned image with out credit, attribution or information. I’m also really interested in the way any artist moves from ideation / sketch to resolved piece, so I culled together some of the artist’s drawings, the artists words and installation views—The Lives of Grass sculptures show the effects of transformation of the material as a metaphor of the transformation of the body. Time sculpts the forms, makes them change and then decay. In Egyptian Mythology, Osiris is the God of renewal, the one who eternally comes back to life. He is also the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality. Photos © Matthieu Raffard. Exhibited at the 2010 Crossing the Line FIAF Festival at Invisible Dog Gallery, Brooklyn, NY ; at the French Institute Alliance Française FGH Theater hall, NY ; at Brooklyn Utopias: Farm City at The Old Stone House Gallery, Brooklyn, NY and at the Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.
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lives of grassMATHILDE ROUSSEL Soil, wheat seeds, structure from recycled metal, fabric. I know these pieces have been popping up all over the tumblr eco-system for months now, inspiring some great gifs highlighting the growth of grass on the figure, but mostly as an orphaned image with out credit, attribution or information. I’m also really interested in the way any artist moves from ideation / sketch to resolved piece, so I culled together some of the artist’s drawings, the artists words and installation views—The Lives of Grass sculptures show the effects of transformation of the material as a metaphor of the transformation of the body. Time sculpts the forms, makes them change and then decay. In Egyptian Mythology, Osiris is the God of renewal, the one who eternally comes back to life. He is also the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality. Photos © Matthieu Raffard. Exhibited at the 2010 Crossing the Line FIAF Festival at Invisible Dog Gallery, Brooklyn, NY ; at the French Institute Alliance Française FGH Theater hall, NY ; at Brooklyn Utopias: Farm City at The Old Stone House Gallery, Brooklyn, NY and at the Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.
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lives of grassMATHILDE ROUSSEL Soil, wheat seeds, structure from recycled metal, fabric. I know these pieces have been popping up all over the tumblr eco-system for months now, inspiring some great gifs highlighting the growth of grass on the figure, but mostly as an orphaned image with out credit, attribution or information. I’m also really interested in the way any artist moves from ideation / sketch to resolved piece, so I culled together some of the artist’s drawings, the artists words and installation views—The Lives of Grass sculptures show the effects of transformation of the material as a metaphor of the transformation of the body. Time sculpts the forms, makes them change and then decay. In Egyptian Mythology, Osiris is the God of renewal, the one who eternally comes back to life. He is also the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality. Photos © Matthieu Raffard. Exhibited at the 2010 Crossing the Line FIAF Festival at Invisible Dog Gallery, Brooklyn, NY ; at the French Institute Alliance Française FGH Theater hall, NY ; at Brooklyn Utopias: Farm City at The Old Stone House Gallery, Brooklyn, NY and at the Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.
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lives of grass
MATHILDE ROUSSEL
Soil, wheat seeds, structure from recycled metal, fabric. 

I know these pieces have been popping up all over the tumblr eco-system for months now, inspiring some great gifs highlighting the growth of grass on the figure, but mostly as an orphaned image with out credit, attribution or information. I’m also really interested in the way any artist moves from ideation / sketch to resolved piece, so I culled together some of the artist’s drawings, the artists words and installation views—

The Lives of Grass sculptures show the effects of transformation of the material as a metaphor of the transformation of the body. Time sculpts the forms, makes them change and then decay. In Egyptian Mythology, Osiris is the God of renewal, the one who eternally comes back to life. He is also the personification of the fertile land and the natural cycles: death and rebirth, dryness and fertility. The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world - of abundance, of famine - and allows us to be physically, intellectually and spiritually connected to a global reality.

Photos © Matthieu Raffard.

Exhibited at the 2010 Crossing the Line FIAF Festival at Invisible Dog Gallery, Brooklyn, NY ; at the French Institute Alliance Française FGH Theater hall, NY ; at Brooklyn Utopias: Farm City at The Old Stone House Gallery, Brooklyn, NY and at the Anatomia Botanica exhibition at the Cheekwood Botanical Garden and Museum of Art, Nashville.

Dan Graham, «Present Continuous Past(s)», 1974sketch | © Dan GrahamThe mirrors reflect present time. The video camera tapes what is immediately in front of it and the entire reflection on the opposite mirrored wall.The image seen by the camera (reflecting everything in the room) appears eight seconds later in the video monitor (via a tape delay placed between the video recorder, which is recording, and a second video recorder, which is playing the recording back).If a viewer’s body does not directly obscure the lens’s view of the facing mirror the camera is taping the reflection of the room and the reflected image of the monitor (which shows the time recorded eight seconds previously reflected from the mirror). A person viewing the monitor sees both the image of himself or herself of eight seconds earlier, and what was reflected on the mirror from the monitor eight seconds prior to that–sixteen seconds in the past (the camera view of eight seconds prior was playing back on the monitor eight seconds earlier, and this was reflected on the mirror along with the then present reflection to the viewer). An infinite regress of time continuums within time continuums (always separated by eight-second intervals) within time continuums is created.The mirror at right angles to the other mirror-wall and to the monitor-wall gives a present-time view of the installation as if observed from an «objective» vantage exterior to the viewer’s subjective experience and to the mechanism that produces the piece’s perceptual effect. It simply reflects (statically) present time. 
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Dan Graham, «Present Continuous Past(s)», 1974
sketch | © Dan Graham

The mirrors reflect present time. The video camera tapes what is immediately in front of it and the entire reflection on the opposite mirrored wall.
The image seen by the camera (reflecting everything in the room) appears eight seconds later in the video monitor (via a tape delay placed between the video recorder, which is recording, and a second video recorder, which is playing the recording back).
If a viewer’s body does not directly obscure the lens’s view of the facing mirror the camera is taping the reflection of the room and the reflected image of the monitor (which shows the time recorded eight seconds previously reflected from the mirror). A person viewing the monitor sees both the image of himself or herself of eight seconds earlier, and what was reflected on the mirror from the monitor eight seconds prior to that–sixteen seconds in the past (the camera view of eight seconds prior was playing back on the monitor eight seconds earlier, and this was reflected on the mirror along with the then present reflection to the viewer). An infinite regress of time continuums within time continuums (always separated by eight-second intervals) within time continuums is created.
The mirror at right angles to the other mirror-wall and to the monitor-wall gives a present-time view of the installation as if observed from an «objective» vantage exterior to the viewer’s subjective experience and to the mechanism that produces the piece’s perceptual effect. It simply reflects (statically) present time. 

stepa:

Wacom just blew my mind!

Wacom introduces Inkling, a new digital sketch pen that captures a digital likeness of your work while you sketch with its ballpoint tip on any sketchbook or standard piece of paper.

For some one who lives in their sketchbook (like I do) this looks like it would be amazing. Digital drawing is great but there is no tension between the drawing tool and the drawing surface— this pen seems to solves that problem

(via lustik)

Source: stepa