Sculptures in Motion by Peter Jansen

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to learn some information about him, visit his site.

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A4 Papercuts by Peter Callesen

Resurrection, 2008Acid free A4 115 gsm paper and glue

 

Resurrection, 2008 (detail)

White Hand, 2007Acid free A4 115 gsm paper and glue

Little Erected Ruin, 2007Acid free A4 115 gsm paper and glue

 

Little Erected Ruin (detail), 2007

Half Way Through, 2006Acid free A4 115 gsm paper, pencil, and glue

Half Way Through (detail) , 2006

On The Other Side, 2006Acid free A4 115 gsm paper and glue

On The Other Side, 2006Acid free A4 115 gsm paper and glue

On The Other Side (detail), 2006

Walking Snail, 2006Acid free A4 115 gsm paper and glue

The Short Distance Between Time and Shadow, 2006Acid free A4 115 gsm paper and glue

The Short Distance Between Time and Shadow (Detail), 2006

Cradle, 2006Acid free A4 115 gsm paper and glue

Cradle (detail), 2006

Cradle (detail), 2006

Do Not Enter, 2006Acid free A4 115 gsm paper and glue

Do Not Enter (detail), 2006

   

18,2 cm Tall Tower of Babel, 2005Acid free A4 80 gsm paper and glue

  

Down the River, 2005Acid free A4 80 gsm paper and glue

Down the River (detail), 2005

 

Wedding Dress Without Bride, 2005Acid free A4 80 gsm paper and glue

All in All, 2006Acid free A4 115 gsm paper and glue

All in All (detail),2006

Angel, 2006Acid free A4 115 gsm paper and glue

Angel (detail), 2006

 

Closet, 2006Acid free A4 80 gsm paper and glue

Closet (detail), 2006

 

Dead Bird, 2006Acid free A4 80 gsm paper and glue

Big wave moving towards a small castle made of sand, 2005Acid free A4 80 gsm paper and glue
Distant Wish, 2006Acid-free A4 115 gsm paper and glue

Distant Wish (detail), 2006

Eismeer, 2006Acid free A4 80 gsm paper and glue

Eismeer (detail), 2006

Hunting, 2005Acid-free A4 80 gsm paper and glue

Hunting (detail), 2005

In the Beginning (Snake inside an egg), 2005Acid free A4 80 gsm paper and glue

For more info, see this site.

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Antrepo4

Minutuner Alarm Clock

for more, look at this site.

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Wooden Mouse by Alest Rukov

AlestRukov computer mice are eco-friendly alternative to harmful plastic gadgets polluting our world. The idea behind the product is to get the maximum out of natural materials and extend lifetime warranty. AlestRukov computer mice have warranty coverage of over 5 years and can be upgraded to extend the service.

 

Our primary intention was to create the best ecologically sustainable design. AlestRukov mouse body is safe for the environment in manufacture, use, and utilization. Valuable types of wood cultivated only for industrial use are used in the mouse body manufacture. Natural linseed oil and carnauba wax are applied as a finishing protective coat.

 


Internal circuit board  with electronic components is of a minimum possible size and is covered mask.

 


Not only is the design unique but the electronic filling as well. AlestRukov mice control sound volume of any computer (РС, МАС) without additional buttons and installation of drivers or software.

Custom-built cord exclusively designed for AlestRukov has a unique ratio of flexibility and elasticity. This makes it exceptionally convenient for use. AlestRukov super flex cord has a wide range of motion on any office table and doesn’t stand in the way.

The development of manufacturing techniques took 4 years. As a result, we are able to manufacture high-tech mice with exclusive design, as if handcrafted by cabinet-maker.

 

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Parkour Motion Reel

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Elektrotrash: A Found Art Typeface by Alex Varanese

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T-shirt Designs by Adhika Rahmani

I found them when i was stumbling. Also, I really loved them, they are so cute and funny!

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The 30-second Bunnies

Here is a really cool site.

http://www.angryalien.com/

30-Second Bunnies Theatre is a cartoon series featuring films re-enacted by anthropomorphic animated bunnies in 30 seconds. The series is produced by Angry Alien Productions.

 

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Levi Van Veluw

“The images that I make consist of often unlogical combinations of materials, patterns, colours, forms, with my head as the only constant factor. Each element is consciously chosen so as to affect a pre-determined transformation. By playing with the value of the each material and by using them for a purpose that was not originally intended for them, I construct within the image, in a very small way, a different perspective on the world.

In most cases it is my head that is the carrier of these transformations and combinations. The expressionless, and almost universal face, allows the viewer to project himself onto the work. Because the works have really existed and have not been digitally manipulated, each image contains a short history of a performance.

Repetition is a theme I find very interesting as you can use it for different ends. By for example using the same head and facial expression, the person slowly becomes of secondary importance to the form. The elements that remain constant lose their value and the elements that change, become the subject of the work. In this way I create a shift in the hierarchy of values.

The commonplace notion of the ‘aesthetic’ image is that which is free of unsatisfactory characteristics and general human imperfections. This in my opinion is the most superficial form of beauty. In my work I attempt to create a different form of aesthetic.

 The unusual and unimpressive materials, traces of glue and other imperfections that exist in the production of the work are what form the aesthetic value in my image. This revaluation of these normally insignificant elements only occurs because they now exist in a new context that distances them from their original circumstances and associations.

During this process I became more and more aware that all objects, materials, events are assigned a commonly held value, but that this valuation could just as easily be different.  It was those elements that nobody had an opinion about that then became most interesting to me. Because they seem to contain little meaning to people, they are malleable and can easily have their perceptions about them altered.

My work amounts to small researches into the valuations we assign to the things around us and the associations they engender in this way. Although these underlying reasons are not immediately apparent in the work, a very specific unsettling reaction is invoked in the viewer. Although the cause of this reaction is a mere piece of grey carpet, it is logical that people react to it in this way as the viewer is essentially forced to review his commonly-held notions about  this material.  The image succeeds in shifting the viewer’s perception, be it in a very small way and about an unimportant subject.”

 for more information, visit his site.

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