Sunday, January 15, 2017

Christian Seymour, Student Work

People who take the time to get tattoos will generally do it as a form of creative expression or a way to separate themselves from the rest of the individuals. Many of these people try to find new ways to mask themselves and make them seem unique to those around them. Hence why the word 'Unique' is written across the face to symbolize the masking of personality with creative expression.

Tuesday, January 3, 2017

Anthony Roussel, Designer

Layered Wood
Website link here.

Carrie Dickens, Designer


Even when it is not possible to go home, it is comforting to know where it is.  Also important is finding ways to feel more at home, when away from home.  For a lover of the green countryside, being uprooted to London was difficult until I found green spaces to breathe in.  London is dotted with green oases; it is just a matter of finding them.  Carrying this pebble in my pocket, I have a printable map of the parks of London.  On a sunny day I line up the predominant ray with the hour on the reverse ‘sundial', and I am re-oriented to find my way to a place more like home.  And just in case, the bearing line points the way home.
home/here was created for the British Art Medal Society (BAMS) student medal competition 2014 and won the grand prize.  
Photography courtesy British Museum

Braille Bricks

With the project completed, the agency gave the adapted toy to blind children of ages 7 to 10 years old. The use of the Braille Bricks was filmed and made into a mini documentary, which shows the real reactions of the children, the functionality of the new resource, and the results produced for the students. To learn more about the project, visit The site includes testimonials and more videos about the project, as well as interactivity for people to create their own message in braille and their avatar.

Second Life Toys Campaign

Second Life Toys, a Japanese campaign raising awareness of the need for transplants for children, has won Gold at the Clio Awards. Working with Japanese organ transplant group Green Ribbon Campaign, Dentsu creatives developed “Second Life Toys”, an online project and design campaign featuring soft toys brought back to full functionality through the donation of limbs from donated toys. The demo round of the project, online at, relied on the participation of plush toy artists from around the world, and led to the creation of characters like an elephant with a squirrel’s tail for its trunk, a bear with monkey arms, a whale with a dragon’s wings and tail, and a goat with bear leg, and many more. Future participants can either donate toys or ask for parts to restore their own bedtime friends. The campaign then asks anyone who gets a plush transplant to write a thank-you letter to the donor—completing the reciprocal circle and helping to illustrate the potential benefits of a more significant medical gift.

Martin Azua, Designer


An object similar to an IPhone but which use is just the opposite:to disconnect. It proposes a disconnection ritual: it has a small hole in which a drop of sandal oil is deposited. It is placed among the sheets or under the pillow. In India sandal is a sacred tree; its oil is used in rituals to clean the spirit and bring about sleep.

Deadly Totem

Medals for World Swimming Championship Barcelona 2003
Medals for the World Swimming Championships Barcelona 2003. The swimming champions in Barcelona in 2003 received the most surprising and original medals and trophies ever received at a world swimming championship, with an innovative design in which water was the principal element. Water was not only the physical element in which swimming takes place but it was also the prize. Martín Azúa 2003 / Summasports / Photographies Iona.

Dish Cup Ring, Martin Azua, Designer

The proposal was a plate, cup and ring that can be used for presenting and eating small desserts. Later, it can be used as a keepsake ring from a special meal.
(Numbered and signed series limited to 500 units.)

Universal Plate, Martin Azua Designer

A one-piece polypropylene tray for eating.
Martín Azúa 1999 / Photographies Martín Azúa.

Rocking Chair That Knits

Damien Ludi and Colin Peillex, students at the University of Art and Design Lausanne, have come up with a rocking chair that knits as you sway back and forth. 
Called the Rocking Knit, the wooden chair has gears above your head that utilises kinetic energy to knit. Each swaying motion powers the gears, which sends yarn to a knitting round. The final product is a cosy red beanie made with minimal effort (so long, needles!).
The contraption was made as part of a program that encourages students to make a machine that creates both an experience and a material good.

How Cindy Sherman Made Shapeshifting an Art All of Its Own

American photographer Cindy Sherman remains a bit of an enigma to even the most devout followers of her work. Some might say she prefers it that way; as she told The Guardian in 2011, “I’m not about revealing myself”. The surest way to get to know Sherman, it seems, is by following the steady trail of breadcrumbs she’s left behind over the decades she’s spent both behind and in front of the camera. In turning the lens on herself – or rather, on constructions of various selves – the social mores, adolescent fears, and mixed media messages that have shaped Sherman’s psyche reveal themselves in sometimes dazzling, sometimes disturbing fashion to the viewer.
Perhaps Sherman’s greatest strength as a photographer lies in the way her images challenge people out of complacent viewership. From her first striking series of faux-film stills in the early 1980s, to her most recent anti-self-portrait series shown in New York’s Metro Pictures gallery in May 2016, centered on the aging starlets of cinema’s yesteryear, Sherman’s work has wrestled with and raised critical questions, including what it means to be female; how the media’s saturation of imagery deeply impacts the way women and girls see and present themselves to the world; and the effects of the double standards placed upon women who choose to explicitly insert themselves – or their gender – into their artistic practice. Today we examine the life of a woman whose power lies just as much in what she chooses to reveal as in what she keeps hidden from view.
Defining FeaturesIt’s no easy feat to pinpoint Sherman’s ‘defining features’ – her ever-changing appearance ties into her distinct talent for image-making. Using carefully chosen make-up, costumes, and prosthetics, Sherman has undergone countless transformations throughout her career to showcase and play with societal stereotypes of femininity. At any given time, she has appeared as a silverscreen bombshell, a platinum blonde in a dark noir, a fanciful figure from a 15th-century painting come to life, and a tragic victim of self-tanner. Sherman, who often works solo in her studio, acts as director, make-up artist, stylist, and model in equal parts. Through her imaginative and multi-faceted process, she depicts so many of the preconceived roles into which women have fit themselves for centuries. Yet by disappearing into her own pictures, and leaving in her absence easily recognisable female tropes, Sherman exposes their societally constructed nature. 

Untitled #183-A, 1988© Cindy Sherman, Courtesy of Metro Pictures, New York

Despite Sherman’s deliberate provocation of the visuals featuring and marketed toward women that typically appear in high-end fashion magazines, the fashion world has sought out her eccentric brand of glamour and intellect on numerous occasions. In 1984, French fashion house Dorothée Bis collaborated with Sherman on a series of photographs published by Vogue ParisSaid Sherman of the series, “I’ve really got to do something to rip open the French fashion world. So I wanted to make really ugly pictures. The first couple of pictures I shot and sent to Dorothée Bis they didn't like at all... That inspired even more depressing, bloody, ugly characters.” She’s also partnered with the likes of Rei Kawakubo at Comme des Garçons, Issey Miyake and Jean-Paul Gaultier. In 2006, American designer Marc Jacobs called on Sherman to develop a series of irreverent advertisements for his line, photographed by Juergen Teller, which found the photographer donning wigs and clownish make-up. Far from striking an aspirational chord, these images toed the line between commerce and art — an in-between space that Sherman’s aesthetic has long inhabited. 
Seminal MomentsBorn in 1954 in Glen Ridge, New Jersey, Sherman came of age as a photographer during the early 1980s, after pursuing an art degree at Buffalo State College in the early 1970s. While she began her artistic journey with paintbrush in hand, she soon found that world to be overtly male-dominated and decided to carve out her own niche. Sherman realised that photography spoke with greater urgency and directness to her lingering questions about life as a woman in America in the wake of feminism’s first wave. Once she had turned the camera on herself to produce her first series, there was no turning back.
Upon moving to New York in 1977, Sherman began to take her longtime love of dress-up more seriously as a potential part of her practice. She first caught the attention of the New York art world with her pioneering series of 69 monochrome photographs known as the Untitled Film Stills, in which she morphed into various female characters from imaginary, yet oddly familiar, 50s and 60s films. Yet rather than base these characters on identifiable actresses, she sought to capture more amorphous personality types that tapped into a viewer’s unconscious consumption of pop culture. Whether channeling a forlorn young woman stranded at the roadside, as in Untitled Film Still 48 (1979), or an obedient yet sexually available stay-at-home wife to an unseen husband, each image conjures strong associations to historical depictions of objectified women on screen.

Untitled, 2016© Cindy Sherman, Courtesy of Metro Pictures, New York

In 1995, the Museum of Modern Art (MoMA) purchased a set of the stills for a reported $1 million – a particularly hefty price tag at the time. The museum became one of her staunchest supporters: the stills went on display in 1997 in a show sponsored by none other than Madonna and, in 2012, the museum organized a comprehensive retrospective of Sherman’s work.
Sherman’s subsequent series have left fans of her work constantly wondering into what territory she’ll next venture. Shortly after her success with the stills, she expanded on her interest in female representation, transformation, and voyeurism in her series of 35 photographs known as her History Portraits. Created between 1989 and 1990 while living abroad in Rome, many of the images corresponded directly to well-known images produced in the age of classical European painting, and were eventually hung in fittingly grand gold frames upon their arrival at New York’s Metro Pictures Gallery. She’s even managed to turn the public’s strange fascination with (and fear of) clowns into a highly memorable series of grotesque portraits created in the early 00s.
Now, at 62 years old, Sherman’s practice has taken a more personal turn: she has turned her keen gaze on the prospect of ageing as a woman. Her latest series of cinematic images featuring former starlets in their prime proves that her thoughtful approach to art has only deepened and evolved as she’s worked with eyes and mind wide open.
She’s AnOther Woman Because…Sherman’s unwillingness to be pigeonholed as an artist has made her one of the most dynamic to follow. Since her very first series, her work has fearlessly explored the fluidity of identity and gender representation – long before designers were embracing such fluidity on the runway or in magazine editorials. Captured in her images are the wide range of emotions one experiences – not to mention roles one is expected to embody – as a female-identifying person: anger, melancholy, desperation, lust, and joy are all accounted for. Sherman occupies a trailblazing spot in the history of American art and photography, and has never compromised her vision to secure it. For this reason, and countless more, Sherman is an AnOther woman to be reckoned with.
Untitled Film Still #6, 1977© Cindy Sherman, Courtesy of Metro Pictures, New York


Caroline's Cart

Caroline’s Cart is a shopping cart created for special needs children. It provides parents and caregivers a viable option to transport a child through a store while grocery shopping, without having the impossible task of having to maneuver a wheelchair and a traditional grocery cart at the same time. It is named after Caroline, the special needs daughter of Drew Ann and David Long.
Drew Ann Long saw the need for Caroline’s Cart after realizing her daughter would outgrow a typical shopping cart. Knowing what was needed, she founded Parent Solution Group, LLC, designed the cart, applied for a patent, and enlisted the services of legal and business professionals to help her bring the cart to market.
Her mIMG_6822ission was to make Caroline’s Cart available to retailers everywhere, providing a quality product for special needs children that further enables their participation in mainstream society with their family through the common activity of grocery shopping.
There was only one place that shared her dream and had the technical know-how to make a cart worthy of her daughter’s name.

That company was Technibilt
Technibilt is headquartered in Newton, NC, where their main production and distribution facility is located. They have additional distribution centers in North Las Vegas, NV, and Montreal, Canada. Technibilt products are available nationwide through a strong network of manufacturer’s representatives. The superior design, innovation and quality of the Company’s products have allowed Technibilt (as part of the Wanzl group)  to be North America’s largest shopping cart manufacturer
Caroline’s Cart has now become a reality. Retailers such as supermarkets, hypermarkets, shopping centers, and malls offering Caroline’s Carts will provide a valuable service to the families of over 1 million severely disabled children in the US. These customers will find shopping to be easier, and the goodwill they feel toward their store will translate into customer loyalty.
Drew Ann’s hope is that one day all retailers will provide an equal opportunity shopping experience for parents and caregivers of special needs children by furnishing them the option of a Caroline’s Cart. All families deserve to have this option, so they can enjoy the freedom of shopping with their special needs child.