Sketchbook 3, Sarah Waldock

Sarah Waldock’s illustrations are flagrantly, unashamedly vulgar, her subjects brazen and bursting with eroticism whether their forms are defined or merely suggested. I’m guessing that she is as besotted with Egon Scheile as I am.

Sheer, icy and overwhelmingly detailed animation on an intimidating scale for Massive Attack’s ‘Splitting the atom’, directed by Edouard Salier.

Deep, fluid, precise and gorgeous paper collages from Norwegian musician and artist Are Mokkelbost.

via beckasaville:

Bill Brandt, Nude, Baie des Anges, France, 1959.

Stumbling across Bill Brandt’s sculptural landscape and nude photography have pushed visiting the huge Henry Moore exhibition opening 24th February at the Tate Britain to the top of my agenda. I can’t wait.

via reckon:

Brett Despotovich, Helpmeat 0013, conté on mylar

Labuat’s gorgeous interactive music video site and FWA Website of the Year ‘People’s choice’ award winner. A terrible song, but a compulsive, tactile and perfectly executed experience.

Broock Shaaden’s photographs have the familiar vestige of digital manipulation but also conjure a grim, Grimm fairytale atmosphere whilst being modern in a cynically commericial way.

via ponyxpress

(via illustrativo)

One of four peices from illustrator and concept artist Daphne Yap’s first exhibition. As far as I can tell, the series is called ‘Fever Daggles’.

Last week I visited the Decode exhibition at (quelle surprise) the Victoria & Albert Museum, which displayed a variety of digital, interactive and procedurally generated works. Many of the pieces employed Processing - an open source programming language that is rapidly becoming the platform of choice for artists and interaction designers - but a significant number of the artists had actually developed unique systems to provide visuals and functionality for their works.

An interesting inclusion was Aaron Koblin’s interactive version of James Frost’s fantastic video for House of Cards by Radiohead. The original music video is above, and was made using 3D geometric scanning hardware to map physical locations, a real-time laser system to capture Thom Yorke’s performance and a multitude of other technologies.

For Decode, Aaron Koblin offered visitors a chance to interact directly with the video, using a 40” touch screen to change the orientation of the still-playing film whilst watching.

A less functional interactive version of the work is available online at http://www.aaronkoblin.com/work/rh/index.html to play with.