A founding artist of Project Vortex, an international collective of artists, designers, and architects who also work extensively with plastic debris, Robson has been developing a college course called “Sculpture + Intercepting the Waste Stream” designed to foster creative stewardship initiatives through academia.

“My goal is to employ art as a device for shifting values,” she shared in an interview with Artnet. “As opposed to merely communicating, I am attempting to literally reprogram myself and my audience in terms of our relationship to matter, ourselves, and each other.”

“I want my work to be an accurate reflection of reality, but waste is messy,” she admits. “I aim for precision in the work. In order to achieve that precision, my studio must be carefully prepared. I listen to news and information on various programs for a portion of the day so that I can stay informed. Then for the remainder of the day, I typically play energetic or meditative, innovative music to aid in processing information and maintaining creative momentum.”

The end result is both striking and alarming. A wakeup call, if you ever needed one, about the state of our oceans.

The post Aurora Robson Repurposes Plastic Waste – and the Result is Alarming appeared first on MobiSpirit.

At first glance, the workspace of this Rhode Island-based artist looks like a cluttered space of all these things that are expected to get rid of during yard sales, small plastic toys, household utensils, old lighters etc. The pile of objects, often in bright colors, looks intriguing. His art process consists of assembling them into families (by association of subject or color, matter or universe), gluing them, or mounting them on supporting platforms, which form famous canvases, animals or portraits.

Like the paintings of Arcimboldo in his time, the anamorphoses of the sixteenth century and the impressionist technique, his plastic installations (which began in 1994) are somewhere halfway between sculpture, painting and installation, and offer a quite fascinating setting. The abyss of modern man, congested, or perhaps well reassured, by the objects of consumption surrounding him.

The post The Plastic Installations of Thomas Deininger appeared first on MobiSpirit.

A founding artist of Project Vortex, an international collective of artists, designers, and architects who also work extensively with plastic debris, Robson has been developing a college course called “Sculpture + Intercepting the Waste Stream” designed to foster creative stewardship initiatives through academia.

“My goal is to employ art as a device for shifting values,” she shared in an interview with Artnet. “As opposed to merely communicating, I am attempting to literally reprogram myself and my audience in terms of our relationship to matter, ourselves, and each other.”

“I want my work to be an accurate reflection of reality, but waste is messy,” she admits. “I aim for precision in the work. In order to achieve that precision, my studio must be carefully prepared. I listen to news and information on various programs for a portion of the day so that I can stay informed. Then for the remainder of the day, I typically play energetic or meditative, innovative music to aid in processing information and maintaining creative momentum.”

The end result is both striking and alarming. A wakeup call, if you ever needed one, about the state of our oceans.

The post Aurora Robson Repurposes Plastic Waste – and the Result is Alarming appeared first on MobiSpirit.

At first glance, the workspace of this Rhode Island-based artist looks like a cluttered space of all these things that are expected to get rid of during yard sales, small plastic toys, household utensils, old lighters etc. The pile of objects, often in bright colors, looks intriguing. His art process consists of assembling them into families (by association of subject or color, matter or universe), gluing them, or mounting them on supporting platforms, which form famous canvases, animals or portraits.

Like the paintings of Arcimboldo in his time, the anamorphoses of the sixteenth century and the impressionist technique, his plastic installations (which began in 1994) are somewhere halfway between sculpture, painting and installation, and offer a quite fascinating setting. The abyss of modern man, congested, or perhaps well reassured, by the objects of consumption surrounding him.

The post The Plastic Installations of Thomas Deininger appeared first on MobiSpirit.