This collection is about people’s obsession with their appearances. We perform appearance managements for the sake of beauty, from dieting to exercise, makeup to cosmetic surgeries and so on. Facebook and other social networking services are used to broadcast certain images of self and “make up” an identity. We treat our appearances according to how we want to be seen by others and put this alternative veil of identity on the faces. In other words, our appearances can be modified and manipulated as we wish.

In addition, appearance managements are enacted so as to keep self-esteem. In fact, physical attractiveness affects a person’s mind; the more you feel that you are attractive, the more you get confident. Historically, women used men’s outfit to project power. Therefore, in this collection I am using the aesthetic and structural idea of a pair of pince-nez as an element of Victorian attire that attaches and detaches to maintain the self-esteem of the wearer.

Murta's entry and construction principle is based on the idea of a double helix that is thought to rise a continuous path through a tree. The climb to the top is a scenic experience. The circular path path, which rises to the top like a screw, passes through the different layers of the forest - the different ecological layers of the dense forest - and allows visitors to experience the ecosystem and forest microclimate. Finally, after 168 steps, at an altitude of 27 meters, the viewing platform will be reached. This is deliberately small scale and enjoy the surrounding rural scenery. The second stage of the staircase leads down from the platform, allowing ascending and descending visitors to actually move through the defined Spaces on the different stages of the staircase.

Tomás Saraceno’s installation Cloud City in New York is a futuristic-looking structure that is made of large, interconnected modules constructed with transparent and reflective materials for the Metropolitan Museum of Art’s Museum’s Roof Garden. Visitors may enter and walk through these habitat-like, modular structures grouped in a nonlinear configuration. Sitting on the roof of the Metropolitan Museum of Art in New York City, it provides the visitors of the museum with a spectacular view of New York’s Central Park and the skyline of Manhattan. 

The mirror itself is a kind of fragile brittle material, and the broken mirror, sharp aggressive as negative emotions, when people are negative emotion itself is fragile, the small changes will cause a reflection of its huge, just like a hedgehog, in his own set up around the sharp thorn, will be cut off from the world. Dealing with others with negative emotions in life is like words and expressions full of thorns that will cause irreparable damage to those around them.

CLEAR FILM, PERSPEX, SILVER.

Atmospheric Reentry, MA final Collection, © Maiko Takeda, 2013.
Art Direction: Samuel John Weeks

Takeda’s collection sets out to explore, in nine show-stopping pieces, the conditions of blurring surrounding space. Starting from the simple question of what it would be like to enter a cloud, Maiko Takeda embarked on an experimental process to create ethereal experiences for the wearer of her creations.

The aesthetic of the collection was heavily inspired by the futuristic mood of imagery taken from ‘Einstein on the Beach’, an opera written and conducted by the minimalist composer Philip Glass, and directed by Robert Wilson in 1976 - first performed at the Metropolitan Opera House in New York and the Festival d'Avignon-, which Takeda watched during its reproduction at the Barbican Theatre in London on May 2012. As a result, Takeda shies away from conventional hat and headpiece materials, ingeniously weaving together clear plastic film, acrylic disks and silver jump rings to create a series of otherworldly sculptural headdresses, visors and masks. Where obsessively layered strips of colour gradient-tinted film form a wave of wafer thin spikes that fan out like artificial translucent feathers, nebulous textures and clear forms create elusive sculptural pieces that are equally dense and immaterial. The end effects create headdresses that blur the boundaries of their surrounding space, creating an intangible aura around the body that materializes as a brightly-coloured haze. In their cloud-like form, her futuristic ruffles and new-age halos appear all at once delicate and daunting, ethereal and explosive.

https://www.yatzer.com/atmospheric-reentry-maiko-takeda

http://www.maikotakeda.com

Carruthers, M. and Iselin, J. (2006) Beach stones. New York: H.N. Abrams.

Fahn, M. et al. (2016) Mari Ishikawa Jewellery & Photography. where does the parallel world exist? Stuttgart: ARNOLDSCHE.

Lena Grabher, MFA, 2015, Diplopia 1, 2015, neck piece, elasto - plastic, glass, monofilament, 3x14x19 inches, photo: artist

Diplopia means “double vision,” and refers to the symptom of seeing two images instead of one. It is the simultaneous perception of two images of a single object that may be displaced horizontally, vertically or diagonally. It refers to the effects of play back, projection, and distortion, that are threaded through this body of work. What we place on our body becomes a part of the image of our projected self and therefore acts as an indicator of our identity. In DIPLOPIA Lena Grabhermanipulate aspects of physical appearance with exacting methods, such as cutting optical lenses and creating mirror structures to redirect the light. Using the language of jewelry,Lena Grabher explore optics and illusion in order to play with the wearer and viewer‘s perception.Lena Grabher use jewelry to create a symbiotic relationship between the body and its environment through light projection, magnification or mirroring to blur the boundary between the two. Lena Grabher focus on the presence of the body and the interaction of the wearable object with the body and its surroundings. What we see and what we perceive are interwoven and cannot be disentangled from each other. The body is challenging as a site to present an object, because of its variability and particularity that limits our ability to control the objects perception, but it also activates the objects in a transformative and unpredictable way, which makes them particular according to the space. Lena Grabher goal is to create jewelry that not only stands alone as an object but obtains its function when worn, creating a conflation of ornament and utility that challenges our perception of self and other, and the role of jewelry in this construction.

https://www.stossimhimmel.net/artists/lena-grabher/

 “The transformation of King's Cross station by John McAslan + Partners represents a compelling piece of place-making for London. The show-piece is clearly the Western Concourse - Europe’s largest single span station structure and the heart of the development, but the overall project is far more complex: an extraordinary, collaborative effort that has delivered an internationally significant transport interchange, fit for the 21st century and beyond.” John McAslan, Chairman John McAslan + Partners

The 7,500sqm concourse has become Europe’s largest single-span station structure, comprising of 16 steel tree form columns that radiate from an expressive, tapered central funnel. The graceful circularity of the concourse echoes the form of the neighbouring Great Northern Hotel, with the ground floor of the hotel providing access to the concourse. The Western Concourse sits adjacent to the façade of the Western Range, clearly revealing the restored brickwork and masonry of the original station. From this dramatic interior space, passengers access the platforms either through the ground level gate-lines in the Ticket Hall via the Western Range building, or by using the mezzanine level gate-line, which leads onto the new cross–platform footbridge.

I took this picture in kings cross. 

Damien Dufresne is an atypical photographer who has been deeply recognized in the field of makeup and advertising. He finds a kind of freedom in art photography to break away from the shackles of fashion, trend, market and business.

His power: creativity, his uniqueness: texture and color, his drive: passion.

"Art photography has given me real freedom to indulge my imagination. I don't want to challenge anything, but I don't give myself inhibitions, I take pictures that mean something to me, images that speak to me... "

"For me, painting or photography is a way of self-expression, not words, but another form of language, another form of communication... "

"I sometimes think that all the paths I've been through have led me to photography... "

Damien Dufresne has worked in Paris, Seoul, milan, New York and Tokyo and now lives in Shanghai.

https://baike.baidu.com/item/Damien%20Dufresne/19941955

http://art.china.cn/photography/2018-07/03/content_40405805.htm

https://www.ingo-maurer.com/en/

https://www.ingo-maurer.com/en/

Ewa Śliwińska is a young Polish, Poznan-based jewelry designer whose project, The Living Points Structure, shies away from the traditional jewelry conventions of stability, fixedness, and uniformity.