It makes me laugh cos I spent like 20 mins drawing this and it got a lot of notes comparatively to pieces that have taken 20 hours plus :s
Young-Deok Seo (Korea)
Young-Deok Seo received a BFA in environmental sculpture from University of Seoul, South Korea, in 2010. He makes metal sculptures using only bike chain components, comparing the standardization of modern life to the monotonous repetitive movement of the chain in its original function. By repurposing the chain components in his work, he replaces its functionality as a machine part and gives it new vitality and life. “I use immobile and cold textured form of a body to express our true nature that turned from the human nature to a property,” he says. In 2009, Young-Deok received first place in National Undergraduate and Graduate Students Sculpture Competition. His work has been exhibited in Seoul. (source: Artist A Day) Our sincere thanks to myampgoesto11 for this Curator’s Monday on Artchipel.
Young-Deok Seo - Anguish 8. Iron chain, 128x100x15 cm (2013)
Exploded and dissected skulls. Beauchene Skull - Mounted preparation of human skulls were used to demonstrate better views of separate cranial bones. 19th Century. The above images, I presume, were most likely prepared and mounted by RMC.
Mommy teaching babby easier water drinking way because drinking water is hard experience u get it in your nose. Jesus how she puts her paw on his head in the second one. Such concern and love.
Audrey Grace Travis
Self Portrait Installation
Plaster, acrylic, horse hair
Marc Quinn - Self: Blood Head - Artist’s blood, stainless steel, perspex and refrigeration equipment
"For his ongoing self-portait project…Quinn uses his own blood to create a frozen bust every five years. The works’ appearance changes over time as Quinn ages, making for an interesting study in decay."
From a Huffington Post interview with the artist:
HP: The Independent reported “Self” was inspired by Rembrandt’s self-portraits. How so?
MQ: Doing one every five years, they become a sort of record of a life, in a sense that the real work to me is the totality of all the sculptures which exist in my lifetime. Which is how i think of Rembrandt’s self portraits — that each one is a part of a larger work which is the series.
HP: How much blood is used for each portrait and how exactly do you go about the extraction process? Do you feel physical effects from the blood loss?
MQ: By some freak coincidence, the volume of my head is the volume of the circulation system of my body, about nine pints. In the years I’m making a blood head I go and visit my doctor every six weeks and he takes a pint out in the same way as if i was giving blood. I do feel a bit tired the day after but one of the great things about the sculptures to me is that they are about the amazing regenerative power of the human body, in that I exist, and five of these sculptures exist so there are about 60 pints of my blood in the world and I’m still alive.
HP: Art in has the ability to immortalize its subject. How is this metaphorical immortality amplified by your artwork being not just a representation of you, but a literal part of you?
MQ: In a funny way I think “Self,” the frozen head series, is about the impossibility of immortality. This is an artwork on life support. If you unplug it, it turns to a pool of blood. It can only exist in a culture where looking after art is a priority. It’s unlikely to survive revolutions, wars and social upheaval, I also think that the total self portrait-ness of using my blood and my body has an ironic factor as well, in that even though the sculpture is my form and made from the material from my body, to me if just emphasises the difference between a truly living person and the materials which make that person up. The sort of literalist point that has been missed by the cryogenicists who freeze themselves for supposed future regeneration.