29 April 2008


'Greetje van Helmond creates visually delicate and materially fragile jewelery by growing sugar crystals onto cords suspended in a specially developed solution. The pieces deal with issues of durability and resource consumption, deliberately using a basic material to create precious, but extremely fragile, objects.

Van Helmond describes her project, exhibited at RCA's 2007 summer show:

"In present day life we can say that we consume a lot. Durable materials are often used for the production of goods that are typically replaced or thrown away quickly.

Contrary to this I use everyday, basic materials to create products that appear valuable and sustainable. Because of the materials I use, the products won’t last long, but long enough to stay “new”."

via food for design

02 April 2008


"For centuries Insect consumption has been part of the everyday diet of many of the world's human inhabitants from the Aborigines of Australia and their favoured delicacy of Witjutie grubs to the night markets of Thailand where crisp, fried Locusts and Beetles are favourite snacks to be consumed with an ice cold beer! We in the west have closed our minds to Insect eating (also known as Entomophagy) but In doing so have forgotten that these are one of the most nutritious foods available, higher in protein levels than chicken and cholesterol free."

Tasty treats can be purchased from from edible.com

05 March 2008

Techno Fashion Tackles the Big Bang, Beautifully

Hussein Chalayan continues his conceptually beautiful and technologically ingenious fusion of high fashion and high technology in his Fall '08 collection.

Unveiled last week at Paris Fashion Week, Chalayan's 'big bang' dress incorporates orbiting points of light that move like planets or satellite constellations around the body of the wearer, representing the center of the universe.

Images of dress begin around 3:50.

Techno Fashion hits Ready-to-Wear

Body | Artist | Surgeon

While I cannot agree with New Media artist Stelarc's premise that 'the body is obsolete' - yet - who can argue with his pre-millennial statement:
The body is neither a very efficient nor very durable structure. It malfunctions often and fatigues quickly; its performance is determined by its age. It is susceptible to disease and is doomed to a certain and early death. Its survival parameters are very slim - it can survive only weeks without food, days without water and minutes without oxygen (1998)
This is the first in a series of posts exploring intersections of art & surgery. Blame Carnal Artist Marie Orlan, whose work I was first exposed to as a HAMS student @ UCL.

The hybridization and augmentation of the human form motivated by reasons other than reparation & disease are contemporary realities. Plastic surgery and prosthetics have evolved from servicing compensation and lack (mastectomy, amputation) to re-forming the body to aesthetic or idealized visions, enhancing sensory capabilities and eventually to serve a Transhumanist agenda.

Nevertheless, the traditional definitions of surgery -- along the lines of 'a medical procedure involving an incision with instruments' -- are consistently appended with references to purpose of 'removing diseased tissue', 'to repair damage' and 'work of treating diseases, injuries, or deformities'.

Collaborations between surgeons and groundbreaking artists necessitate that traditional definitions be updated. To quote Stelarc once more,
'Altering the architecture of the body results in adjusting and extending its awareness of the world.'
Surgeons are moving beyond those roles prescribed by drug companies & HMOs, and are becoming complicit in the redefinition of the human form, and eventually what it is to be human.