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Showing posts with label paper crafts. Show all posts
Showing posts with label paper crafts. Show all posts

Hand Cut Illuminated Paper Art by Hari & Deepti


hari & deepti hero IIHIH

Harikrishan Panicker and Deepti Nair, who both hail from India, go by the duo artist name of Hari & Deepti. Together they create small and large diorama artworks made of intricately cut layered paper lit by LED lights.

Tree of Light, unlit and lit:
tree of life unlit and lit IIHIH
Spirit of the Forest (lit and unlit):
Spirit of the forest (lit and unlit) IIHIH
The Protector (lit and unlit):
The protector (lit and unlit) IIHIH
Spacedust:
spacedust IIHIH
Fire Wolves and the Lone Warrior:
fire wolves and the lone warrior IIHIH
When Life Gives You Lemons (left) and Where I Belong (right):
when life gives you lemons and where I belong IIHIH
The Light in the Forest:
the light in the forest IIHIH
Utopia:
utopia IIHIH
The Golden Stag (left) and Uncharted Waters (right):
the golden stag and uncharted waters IIHIH
When The Dust Settles:
when the dust settles IIHIH
Moonlight Drowns Out All But The Brightest Stars:
moonlight drown out all but the brightest stars IIHIH
The Protector 3 (and detail):
The protector3 and detail IIHIH
The Illuminated One (also shown cropped at the top of this post):
the illuminated one IIHIH

Artworks as they appear in Galleries:
luminous beings gallery view IIHIH hari and deepti gallery view

About the artists:
Hari & Deepti are an artist couple currently based out of Denver, Colorado.

Hari (whose full name is Harikrishnan Panicker) is a trained graphic designer and illustrator. He was born and raised in Mumbai, India where he was the senior designer for MTV Networks India and has designed for brands like MTV India, VH1 India, Nickelodeon & Comedy Central. Apart from designing for these brands, he is also an established illustrator and has designed album covers for musicians like Dualist Inquiry and has been invited to design a cover for Rolling Stone India for their annual – Art as Cover Edition. He loves to collect and customize vinyl toys, is obsessed with drawing monsters, loves to screen print & secretly aspires to be in space some day. He fell in love with paper cut art after seeing Balinese shadow puppets and has since been experimenting with paper and light.

Deepti Nair is a certified geek and is usually seen designing complex systems for a leading Telecom company as an Interaction Designer. “My day job helps me keep sane and makes me appreciate the time and opportunity I get to create art a lot more” says Deepti. She is a trained artist and prefers staying away from the computer to create or assist in her art. She believes that art has to be felt and experienced. She specializes in working with paper cut, acrylic and loves sculpting with clay.

Hari & Deepti moved to Denver from India and carried with them a Pandora box full of stories and imagination that they bring to life through their intricate paper cut light boxes and paper clay sculptures. They have always been drawn towards the imaginative aspect of story telling and seek inspiration from them. Stories have so many shades and depth in them, and paper as a medium has the exact qualities to reflect and interpret them. They believe that “Paper is brutal in its simplicity as a medium. It demands the attention of the artist while it provides the softness they need to mold it in to something beautiful. It is playful, light, colorless and colorful. It is minimal and intricate. It reflects light, creates depth and illusions in a way that it takes the artist through a journey with limitless possibilities.”

They started experimenting with paper cut shadow boxes in 2010 with hand painted watercolor paper which was then cut and assembled in a wooden box to create a diorama, with years of practice their art became more intricate and minimal at the same time. They started experimenting with lights and simplified their pieces by losing the colored aspect of the paper. They have since then evolved to add their own style of paper cut art incorporating back-lit light boxes using flexible LED strip lights.

“What amazes us about the paper cut light boxes is the dichotomy of the piece in its lit and unlit state, the contrast is so stark that it has this mystical effect on the viewers.”

They are constantly evolving their art with more complex representation of stories and aspects, like reflections in the water.

See more of their work here

images and info courtesy of The Black Book

Angela Nocentini Creates Couture Made With Magis Adhesive Tape.




Angela Nocentini, a sculpture teacher at the Academy of Fine Arts in Florence, is known for her fashions made with recycled trash and waste to emphasize her environmental concerns. To illustrate the use of tape as a reusable resource, she collaborated with eco-conscious Italian adhesive tape company Magis S.p.A. (not to be confused with Magis Design) to create these fashions using their products.


















At Magis the respect of the environment has always been one of their main concerns and they have been investing in new technologies with low environmental impact and in the use of renewable energies.

In their production they use highly recyclable materials such as polypropylene, paper, cartons and solvent-free adhesives as hot melt and acrylic water based emulsions.



About Magis
Magis, founded in 1983, was one of the first companies in coating polypropylene film with Hot Melt glue and to experiment with a form of printing called Sandwich, protected between the film and the adhesive. Thanks to these innovations, Magis has shortly become one of the leading companies in Italy, and soon after in the European and International market.

Magis is located in Cerreto Guidi on a production plant of more than 28.000 sqm.Thanks also to numerous investments, new machines and skilled personnel, Magis is able to guarantee the highest flexibility to all its customers and the best quality of the products. Nowadays Magis is one of the leading companies producing customized packaging materials and is ISO 9001:2008 certified.

original images courtesy of Magis, but have been highly altered in color, contrast and cropping by If It's Hip, It's Here


You Thought Packing Tape Was For Shipping Boxes, But Mark Khaisman Proves Otherwise.





Artist Mark Khaisman, originally from the Ukraine and now based in Philadelphia, uses packing - or packaging - tape in a very different manner than you do. Applying layers of 2" wide translucent and clear packing tape to backlit panels, he uses the play of shadow, depth, shape and color to create images of objects, portraits, patterns or motifs and the re-creation of movie and film noir stills. The results are reminiscent of digitized or pixelated photos, only with a depth and tactile quality that is unique to his work.



above: Tape Noir_72, 2012, Packaging tape on acrylic panel with translucent resin light box, 20.5 x 27 x 6 inches (52 x 68.5 x 15.2 cm)

The artwork with the lights off, compared to when it is illuminated from behind, is quite a transformation:


Here are some more wonderful examples of his work from various categories over the past few years.

Objects

Birkin Girl 2, 2013:

above: Packaging tape on acrylic panel with translucent resin light box, 27 x 40 x 6 inches (68.5 x 101.6 x 15.2 cm)

Faberge Egg 2, 2013:

above: Packaging tape on acrylic panel with translucent resin light box, 20.5 x 27 x 6 inches (52 x 68.5 x 15.2 cm), Private Collection

Antique Serapi Rug 1 and Antique Serapi Rug 3 (two different pieces), 2012:

above: Packaging tape on backlit polyester film , 100 X 58 inches (254.00 X 147.32 cm) and Packaging tape on backlit polyester film , 96 X 48 inches (244.00 X 122.00 cm)

image at the top:
Birkin Girl 5, 2013, Packaging tape on acrylic panel with translucent resin light box
27 x 40 x 6 inches (68.5 x 101.6 x 15.2 cm), shown with lights off and on


Motifs

Motif 2013.1, 2013:

above: Packaging tape on acrylic panel with steel light box, 48.5 x 36.5 x 6 inches (123.2 x 92.7 x 15.2 cm)

Motif 2013.3, 2013:

above: Packaging tape on acrylic panel with steel light box, 48.5 x 36.5 x 6 inches (123.2 x 92.7 x 15.2 cm)

Film Stills

James and Ursula #1, 2013

above: Packaging tape on acrylic panel with translucent resin light box, 40.5 x 27 x 6 inches (103 x 68.5 x 15.2 cm)

James and Ursula #3, 2013:

above: Packaging tape on acrylic panel with translucent resin light box, 40.5 x 27 x 6 inches (103 x 68.5 x 15.2 cm)

Tape Noir Glimpse 47, 2012:

above: Packaging tape on acrylic panel with steel light box, 48.5 x 36.5 x 6 inches (123.2 x 92.7 x 15.2 cm)

Killer's Kiss (007), 2010:

above: Packaging tape on acrylic panel with translucent resin light box, 20.5 x 27 x 6 inches (52 x 68.5 x 15.2 cm), Private collection, USA

Portraits

Barbara, 2012:

above: Packaging tape on backlit acrylic panel, 26.5 X 20 inches (67.31 X 50.80 cm), NBC Collection

Alfred, 2012:

above: Packaging tape on backlit acrylic panel, 26.5 X 20 inches (67.31 X 50.80 cm), NBC Collection

Images of his work on display:



The Artist:

above: Mark and his wife Elena stand in front of His Antique Serapi Rugs made of packaging tape at Miami in 2012 (image courtesy of Facebook)

Mark explains his work as follows:

ON TAPE:
My works are pictorial illusions formed by light and shadow. Tape allows for images that communicate what I'm interested to do in a very direct way. My medium consists of three elements: translucent packing tape, clear acrylic or film panels, and light. By superimposing layers of translucent tape, I play on degrees of opacity that produces transparencies highlighted by the color, shading, and embossment (sic). There are some qualities of tape that make it unique for me as an art material: its banality, humbleness and its “throwaway” nature; its default settings of color and width; its unforgiving translucency; the cold and impersonal attitude that tape surface suggests.

ON PROCESS:
I apply a stripe of translucent tape on a clear backlit panel, and if I don't like it, I peel it off. If I peel off less frequently than apply, a chance is that an image emerges. The whole process is reminiscent to the red room photo development in the pre-digital era, in a way, as my hands do the job, and my mind is witnessing the appearance of the image, then the only concern becomes to not under - or overdevelop it. Though I try not to lose control completely, I am not aware of every move I am taking, so by the time the piece is done, I don't exactly know how it has happened, so I feel compelled to start a next image to make sure that I can do it again.

ON LAYERS:
Layering tape, and even peeling it off, gives me a strange satisfaction. The only explanation for it I can offer comes from the Eastern cultural perception of the self as an onion, according to which if you peel off the outer layers of the onion you find more layers underneath. It makes you want to peel off more, and more, and more to find the pit, but when you finally peel it off to the very last layer you are left with nothing. I do it in reverse, but the feeling that it is only the different direction of the same process feels liberating.

ON PIXELATION:
I think that my art may be dabbed as post-digital, because although it has been inspired by the pre-digital movie media and developed in the context of digital pixels, it bypasses virtual reality finding itself in the blizzard combination of light, disposable plastic, and calculated rhythms of imaginable music all holding together with the stuck familiarity of random cultural references.

As soon as I pick up a 2-inch tape and start blocking the light streaming through the Plexiglas screen in attempt to render the image, the abstract field of intersections occurs. It consists of lighter and darker polygons with different lengths and angles of sides, which I refer to as “pixels”. To be immersed in the field of their vibrations and never loose photographical realism of an image woven into the fabric of rhythmic scores and luring into deception that image is all there is, is just too much fun. My goal can be roughly put into three subtasks, which are managing the scale, figuring out the ratios, and controlling intensity of light.

Light has a well-known affect of dispersing in geometrical cones, so that the greater the distance from the light opening the larger it seems. I play with the size of openings, placing the lighter and smaller ones next to the wider and darker to create contrast.

ON SUBJECTS:
The tape is the message. A parody on Marshall McLuhan’s famous quote could explain the superficial motives, which make up the work. Subjects are categorized into different groups: fragmented stills from classic cinema, iconic objects from art history, portraits. The works are exploring the familiar as our shared visual history; made of a familiar material formed into a familiar image, asking the viewer to recognize and complete the work, stimulating both memory and interpretation in the process.

Mark Khaisman

In the USA, Mark is represented by Pentimenti Gallery
In CANADA, at Galerie LeRoyer
In KOREA, at Gallery YEH
In SPAIN at the Ampersand Foundation PF

images © and courtesy of Mark Khaisman and Pentimenti Gallery



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