Her pieces, light-catching and luminous, take after natural forms, with her glass objects including butterflies and moths, as well as plants, each delicately made using the Tiffany technique. “When I began working independently, I started with small suspended pieces,” she recalled in an interview with the Etsy blog, “but I wanted to take the idea of hassle-free installation even further and create something where people wouldn’t need to worry about nails or drilling holes in walls.”

After a lot of musing, she came up with an idea for how to neatly attach a stained-glass piece to a brass bar. She then achieved an independent object that could easily be brought into peoples’ homes. Her work also requires special precision which Zaycman ties to her math studies at university. “I appreciate the precision and clarity of exact sciences, and I like how they require perseverance and intense concentration,” she notes. “Having an understanding of geometry is useful in calculating complex shapes.”

Working primarily with glass, it is important for Zaycman to judge the quality of her materials beforehand. “I measure the quality of the glass not only visually, checking for color and cleanliness—or the lack of any extra coating—but also by touching,” she says. “Glass should be pleasant and smooth. For some exotic colors, it’s challenging to find pieces that fit these requirements. I usually purchase glass and other materials in specialized shops in Saint Petersburg, but sometimes it’s necessary to go to Finland if it’s impossible to find something in my city.”

Take a look at some of her unique creations in the gallery below:

The post The Luminous Glass Sculptures of Elena Zaycman appeared first on PlayJunkie.

According to Chiao, they treat natural and synthetic materials as equal sources of inspiration. “We might agree that the spectrum of natural versus artificial is continuous,” she says. “Nature is really a construction of the human mind in a way, maybe designed as a way to separate ourselves as humans from the natural world. But in reality, we are a part of it. So a lot of the things that we’re attracted to come from the ‘man-made’ or ‘utilitarian’ world versus the ‘natural’ world. So they’re two descriptors that we use but they often flow into each other.”

“If we ever copy nature we generally fail, but if we use it as a starting point it leads to something more unique in the end,” notes Frezza. Play and craft are also important elements in their work. “Play means giving ourselves permission to do whatever we want and craft means the editors in us coming out and mediating the making process,” explains Frezza. “But play and craft are in constant flux in our practice,” he adds.

Founded in 2011 and based in New York City, the two have exhibited their collaborative work in solo exhibitions in New York, Philadelphia, and Los Angeles, in numerous group shows around the US, and in a variety of art and design venues internationally. And with more than 35k fans on Instagram, they’re making quite a splash both offline and online. See for yourself:

The post A Colorful Mess: Artist Duo Experiments with Different Materials appeared first on PlayJunkie.

Her installations include colossal sculptures of animals and humans. These sculptures aim to stimulate the viewers’ imaginations while offering scope for reflection about our state with the natural world. Inspired by the dramatic Tasmanian landscape, Parer’s artwork explores the natural world, it’s fragility and the role of humanity within it.

“I use feral animals in my work as a metaphor for man’s mismanagement and overuse of the environment,” she explained in an interview with Kaltblut Magazine. “I am interested in how easily we anthropomorphize to tell our stories without fully acknowledging that we are animals too.”

When the audience visits one of these ephemeral art installations they are enticed by the play of scale, light, dark, drama, and humor. “I live in an island state in the south of Australia called Tasmania,” says Parer, explaining that “it is a land of great dramatic beauty with moody skies and landscapes and holding narrative qualities that I like to thread in my work. Light coming through the darkness depicts a sense of hope or spirituality.”

Her art installations have been on continual display since Parer first moved to this art form in 2014 and has so far been exhibited in 100 cities around the globe, as they continue to capture public and media attention where ever they go. But you can also follow her work online. Take a look:

The post Amanda Parer Creates Colossal Sculptures of Animals and Humans appeared first on PlayJunkie.

In his website, Peralta talks about the inspiration behind his unique sculpting method. “In 2005, while living in Hong Kong, I came across an exploded diagram of a bicycle on the back of a magazine,” he recalls. “I was inspired by its fragile beauty, and imagined a three-dimensional version with a real object.”

Using only a ruler and simple tools, which he still uses today, he went on to develop techniques for suspension which expose the inner workings of these humble mechanical objects. “The subjects I choose for the Mechanations series are icons of utility and invention,” he explains. “I also like to think they hold memories that we’ve long forgotten. They’ve watched generations pass; recorded every scene, love letter, and document. Each image, word, and note is permanently imprinted on them.”

Having received no formal training in the arts, it wasn’t until his thirties that Peralta found his creative voice. Amongst his interests, he mentions visual and textural contrasts, motion, mechanics, space, time, and the use of bold colors. His influences include cubist artists like Metzinger and Picasso, and the surrealist, Storm Thorgerson.

Take a look at some of his stunning pieces:

The post Sculptor Reveals the Hidden Machinery of Objects appeared first on PlayJunkie.

Cited by Forbes among the 30 most influential European artists under 30, his installations include the restoration of the Basilica paleocristiana of Siponto – a unique convergence between contemporary art and archaeology. With this installation, he reimagined the architectural remains of the 13th-century chapel. 

“I see in wire mesh poetics the depiction of a mental projection or, when related to history, the representation of what used to exist but is no longer there,” Tresoldi explained in an interview with Designboom. “Through transparency, I’m also able to keep a direct link with the environment and to establish a new kind of immersive experience for visitors.”

“I deeply feel the charm of places and I recognize their expressive potential,” he stressed. “My main interest is the relationship between the different elements of the landscape and how contemporary languages dialogue with each other, building its emotional structure. I always spend the right time studying and understanding the characteristics of the site, which become constituent parts of the work.”

His experimentations with wire mesh are as stunning as they are thought-provoking. Take a look for yourself:

The post These Sky-High Wire Mesh Structures Are Jaw-Dropping appeared first on PlayJunkie.

“Sea creatures and weather formations, fabric folds and textile richness or historic ceramic techniques all come together to inspire the form and texture of the work,” reads her website.

Working from her studio based on the oceanic shore of New Jersey, her process includes wheel throwing and hand-building, altering and distorting forms before deeply carving, hand texturing and surface detailing her one-of-a-kind vessels.

Firing the clay twice allows for the addition of delicate glazing work and the melting of glass frit (crushed glass) for additional surface interest. According to her, this process is long and involved, requiring both planning and improvisation. 

But it took her time and effort to find her artistic voice. After leaving her career in fashion to pursue her art interests in 2002 and delving into various mediums, she finally came across clay in 2003.  She now exhibits her vessels around the United States, on top of more than 20k followers on Instagram.

The post Judi Tavill’s Ceramic Pottery Reminds of Corals appeared first on PlayJunkie.

Her inspiration for her creations varies from Flemish and Renaissance paintings and medieval illuminated manuscripts to Safavid period carpets, Japanese woodblock prints, Greek black-figure, and red-figure pottery.

“I used to make paintings that were really specific to place and time,” she told Art of Choice, explaining that now she’s working with more universal and basic themes that aren’t so much addressed for a specific audience. “I am very sentimental, but I want my work to be open and have more entry points and interpretations,” she adds. “That’s more what I am doing now in both my paintings and sculptures.”

Talking about how she balances between the two mediums she says: “For me, I get a bit stir crazy so bouncing between the two mediums helps break up my time. Typically I will work in one medium for a period of months and then switch, with that amount of time you can sort of get somewhere with something, and also get to the point where you are yearning for the other thing and start to build anticipation for the shift.”

“And then on the viewing end, I think paintings and sculptures operate really differently so it really opens things up for me,” she explains. “I can do things with a sculpture that may be really specifically about painting, but all the specificity of a 3-dimension object really alters the content (like its relationship to the viewer, body, the material of the clay itself, etc.) which is really exciting for me.”

Check out some of her fascinating work in the gallery below.

The post Jasmine Little Bounces Between Sculpting and Painting appeared first on PlayJunkie.

However, very few people still employ the manual means of carrying out clay molding today, as technology evolved. At the moment, different types of machines are being used around the world for that effect. The use of these machines has really helped in making the process more comfortable, as well as, increasing productivity.

From the video below, we can see a man using a few tools to mold a teapot from a chocolate-like substance, known as Yixing clay. The process looks really fast and easy (but we know it must be hard!). The tools were really helpful in making this pot come out its best.

The Yixin clay was first discovered near the city of Yixing in Jiangsu Province, which is located in China.

Watch the video below.

The post This Mesmerizing Clip Shows How Teapots are Made appeared first on PlayJunkie.

Her pieces, light-catching and luminous, take after natural forms, with her glass objects including butterflies and moths, as well as plants, each delicately made using the Tiffany technique. “When I began working independently, I started with small suspended pieces,” she recalled in an interview with the Etsy blog, “but I wanted to take the idea of hassle-free installation even further and create something where people wouldn’t need to worry about nails or drilling holes in walls.”

After a lot of musing, she came up with an idea for how to neatly attach a stained-glass piece to a brass bar. She then achieved an independent object that could easily be brought into peoples’ homes. Her work also requires special precision which Zaycman ties to her math studies at university. “I appreciate the precision and clarity of exact sciences, and I like how they require perseverance and intense concentration,” she notes. “Having an understanding of geometry is useful in calculating complex shapes.”

Working primarily with glass, it is important for Zaycman to judge the quality of her materials beforehand. “I measure the quality of the glass not only visually, checking for color and cleanliness—or the lack of any extra coating—but also by touching,” she says. “Glass should be pleasant and smooth. For some exotic colors, it’s challenging to find pieces that fit these requirements. I usually purchase glass and other materials in specialized shops in Saint Petersburg, but sometimes it’s necessary to go to Finland if it’s impossible to find something in my city.”

Take a look at some of her unique creations in the gallery below:

The post The Luminous Glass Sculptures of Elena Zaycman appeared first on PlayJunkie.

According to Chiao, they treat natural and synthetic materials as equal sources of inspiration. “We might agree that the spectrum of natural versus artificial is continuous,” she says. “Nature is really a construction of the human mind in a way, maybe designed as a way to separate ourselves as humans from the natural world. But in reality, we are a part of it. So a lot of the things that we’re attracted to come from the ‘man-made’ or ‘utilitarian’ world versus the ‘natural’ world. So they’re two descriptors that we use but they often flow into each other.”

“If we ever copy nature we generally fail, but if we use it as a starting point it leads to something more unique in the end,” notes Frezza. Play and craft are also important elements in their work. “Play means giving ourselves permission to do whatever we want and craft means the editors in us coming out and mediating the making process,” explains Frezza. “But play and craft are in constant flux in our practice,” he adds.

Founded in 2011 and based in New York City, the two have exhibited their collaborative work in solo exhibitions in New York, Philadelphia, and Los Angeles, in numerous group shows around the US, and in a variety of art and design venues internationally. And with more than 35k fans on Instagram, they’re making quite a splash both offline and online. See for yourself:

The post A Colorful Mess: Artist Duo Experiments with Different Materials appeared first on PlayJunkie.

Her installations include colossal sculptures of animals and humans. These sculptures aim to stimulate the viewers’ imaginations while offering scope for reflection about our state with the natural world. Inspired by the dramatic Tasmanian landscape, Parer’s artwork explores the natural world, it’s fragility and the role of humanity within it.

“I use feral animals in my work as a metaphor for man’s mismanagement and overuse of the environment,” she explained in an interview with Kaltblut Magazine. “I am interested in how easily we anthropomorphize to tell our stories without fully acknowledging that we are animals too.”

When the audience visits one of these ephemeral art installations they are enticed by the play of scale, light, dark, drama, and humor. “I live in an island state in the south of Australia called Tasmania,” says Parer, explaining that “it is a land of great dramatic beauty with moody skies and landscapes and holding narrative qualities that I like to thread in my work. Light coming through the darkness depicts a sense of hope or spirituality.”

Her art installations have been on continual display since Parer first moved to this art form in 2014 and has so far been exhibited in 100 cities around the globe, as they continue to capture public and media attention where ever they go. But you can also follow her work online. Take a look:

The post Amanda Parer Creates Colossal Sculptures of Animals and Humans appeared first on PlayJunkie.

In his website, Peralta talks about the inspiration behind his unique sculpting method. “In 2005, while living in Hong Kong, I came across an exploded diagram of a bicycle on the back of a magazine,” he recalls. “I was inspired by its fragile beauty, and imagined a three-dimensional version with a real object.”

Using only a ruler and simple tools, which he still uses today, he went on to develop techniques for suspension which expose the inner workings of these humble mechanical objects. “The subjects I choose for the Mechanations series are icons of utility and invention,” he explains. “I also like to think they hold memories that we’ve long forgotten. They’ve watched generations pass; recorded every scene, love letter, and document. Each image, word, and note is permanently imprinted on them.”

Having received no formal training in the arts, it wasn’t until his thirties that Peralta found his creative voice. Amongst his interests, he mentions visual and textural contrasts, motion, mechanics, space, time, and the use of bold colors. His influences include cubist artists like Metzinger and Picasso, and the surrealist, Storm Thorgerson.

Take a look at some of his stunning pieces:

The post Sculptor Reveals the Hidden Machinery of Objects appeared first on PlayJunkie.

Cited by Forbes among the 30 most influential European artists under 30, his installations include the restoration of the Basilica paleocristiana of Siponto – a unique convergence between contemporary art and archaeology. With this installation, he reimagined the architectural remains of the 13th-century chapel. 

“I see in wire mesh poetics the depiction of a mental projection or, when related to history, the representation of what used to exist but is no longer there,” Tresoldi explained in an interview with Designboom. “Through transparency, I’m also able to keep a direct link with the environment and to establish a new kind of immersive experience for visitors.”

“I deeply feel the charm of places and I recognize their expressive potential,” he stressed. “My main interest is the relationship between the different elements of the landscape and how contemporary languages dialogue with each other, building its emotional structure. I always spend the right time studying and understanding the characteristics of the site, which become constituent parts of the work.”

His experimentations with wire mesh are as stunning as they are thought-provoking. Take a look for yourself:

The post These Sky-High Wire Mesh Structures Are Jaw-Dropping appeared first on PlayJunkie.

“Sea creatures and weather formations, fabric folds and textile richness or historic ceramic techniques all come together to inspire the form and texture of the work,” reads her website.

Working from her studio based on the oceanic shore of New Jersey, her process includes wheel throwing and hand-building, altering and distorting forms before deeply carving, hand texturing and surface detailing her one-of-a-kind vessels.

Firing the clay twice allows for the addition of delicate glazing work and the melting of glass frit (crushed glass) for additional surface interest. According to her, this process is long and involved, requiring both planning and improvisation. 

But it took her time and effort to find her artistic voice. After leaving her career in fashion to pursue her art interests in 2002 and delving into various mediums, she finally came across clay in 2003.  She now exhibits her vessels around the United States, on top of more than 20k followers on Instagram.

The post Judi Tavill’s Ceramic Pottery Reminds of Corals appeared first on PlayJunkie.

Her inspiration for her creations varies from Flemish and Renaissance paintings and medieval illuminated manuscripts to Safavid period carpets, Japanese woodblock prints, Greek black-figure, and red-figure pottery.

“I used to make paintings that were really specific to place and time,” she told Art of Choice, explaining that now she’s working with more universal and basic themes that aren’t so much addressed for a specific audience. “I am very sentimental, but I want my work to be open and have more entry points and interpretations,” she adds. “That’s more what I am doing now in both my paintings and sculptures.”

Talking about how she balances between the two mediums she says: “For me, I get a bit stir crazy so bouncing between the two mediums helps break up my time. Typically I will work in one medium for a period of months and then switch, with that amount of time you can sort of get somewhere with something, and also get to the point where you are yearning for the other thing and start to build anticipation for the shift.”

“And then on the viewing end, I think paintings and sculptures operate really differently so it really opens things up for me,” she explains. “I can do things with a sculpture that may be really specifically about painting, but all the specificity of a 3-dimension object really alters the content (like its relationship to the viewer, body, the material of the clay itself, etc.) which is really exciting for me.”

Check out some of her fascinating work in the gallery below.

The post Jasmine Little Bounces Between Sculpting and Painting appeared first on PlayJunkie.

However, very few people still employ the manual means of carrying out clay molding today, as technology evolved. At the moment, different types of machines are being used around the world for that effect. The use of these machines has really helped in making the process more comfortable, as well as, increasing productivity.

From the video below, we can see a man using a few tools to mold a teapot from a chocolate-like substance, known as Yixing clay. The process looks really fast and easy (but we know it must be hard!). The tools were really helpful in making this pot come out its best.

The Yixin clay was first discovered near the city of Yixing in Jiangsu Province, which is located in China.

Watch the video below.

The post This Mesmerizing Clip Shows How Teapots are Made appeared first on PlayJunkie.