Our next and final feature on Late-to-the-Party Sunday is this collection of prosthetics-inspired, insectlike body armor created by recent University of the Arts London graduate Úna Burke, blogged everywhere and recently rediscovered by Haute Macabre. On her site, Burke explains the rationale behind these creations: “This is a conceptual collection of wearable art pieces, depicting a series of eight human gestures associated with the cause, the physical and psychological effect and the healing stages of human trauma…in my research I have referred to the work of artists, photographers and designers such as Hans Bellmer, Anthony Gormley, Alexander McQueen, Erwin Olaf, as well as looking at the casts of the victims of Pompeii. The entire collection made from undyed vegetable tanned leather which is reminiscent of caucasian flesh.”

Burke’s pieces are reminiscent of fellow Londoner Paddy Hartley’s Project Facade in their sensual combination of sculpture and fashion to represent body trauma and the trappings of recovery.

The always inspiring Rinpa Eshidan collective just posted a new video on YouTube, entitled CUBE:

(Via William Gibson and Pink Tentacle.)

Watching these guys do their thing is like drinking a beaming cup of liquid joy! Many of you will recall their video, 1 WEEK (which went ultra-viral back in 2006), and subsequent video offerings. R.E.’s creative philosophy seems to be one of cheerful detachment and organic/anarchic teamwork. They favor process over result, flux over permanency:

Instead of focusing on the finished project, we believe the process of creation itself is where art comes to life and our videos and live art aim to engage our audience in that process. Many people ask us how we can stand to erase the artwork we have worked so hard to create, but our focus is on the process of making art, not the end result. The good news is that the videos we make become a permanent record of the spontaneous artworks created during the filming.

This emphasis on non-permanency is reminiscent of Andy Goldsworthy‘s “nature sculptures”, Julian Beever‘s sidewalk trompe-l’oeils, the SRL/Black Rocky City ethos of building epic artworks and destroying them upon completion, any number of public “temp installation” programs cropping up worldwide, and every perfect sandcastle ever built at the beach during low tide, only to be destroyed by the rising breakers.

A still from ROOM.

Rinpa Eshidan now offers a full DVD of their various time-lapse performance pieces available at high res, just email them for purchase info. Several more video clips after the jump.

I don’t like robots; not one bit. This is because they’re all secretly mechanical murder machines many of whom stand fully, blank-eyed and mouth agape, within the Uncanny Valley; a mere stone’s throw from the Creepy Sex Doll Meadow. This is all well-trod ground; my feelings on robots being spelled out in no uncertain terms on this site.

Which is why these images by Brandon Jan Blommaert depicting lumbering colossi, their bodies comprised of recycled refuse, devastating the countryside are so terrifying. For me these are not the fanciful musings of an, but a probable reality, a portent of things to come; one that I live in fear of every minute of my life. These are the monsters that haunt my nightmares; composting the human race into oblivion.

via Bioephemera

Various works by sculptor John T. Unger.

John T. Unger is a fabulously inventive artist, environmentalist, writer, small business owner and the creator of copyrighted sculptural Artisanal Firebowls. He crafts his wares with primarily recycled or re-used materials, designing for permanency and functionality. His work has been featured on Etsy, BoingBoing, Neatorama, and by Craft Magazine, Variety and VenusZine, to name only a few.

Right now Unger’s mired in what he has dryly referred to as “an unwanted education in copyright law” and boy, does it sound like FUN!  Unger, who obtained legal copyright a while back to protect his original sculptures from piracy, says a man by the name of Rick Wittrig, owner of FirePitArt.com, has not only begun manufacturing and selling products which are extremely similar to Unger’s, but has even gone so far as to bring a federal lawsuit against Unger to have the copyrights for Unger’s own original artwork overturned.

Repeating for emphasis: Unger is being copyright-sued by a guy who makes knockoffs of his own work. Wooo!

Fire bowl, mask, and “fire imp” figurines by John T. Unger.

Attempts at settlement have failed. Unger, who has already spent $50,000 fighting against Wittrig, says that “seeking a judicial ruling in federal court will cost more than any artist or small business can afford on its own”, yet the lawsuit continues to move forward. Apparently, Wittrig has money to burn, so to speak. Unger isn’t taking it lying down:

A life in the arts is all I have ever really wanted. After more than 20 years of working towards that goal I have achieved success… It isn’t easy to make it as an artist and I didn’t have a lot of initial support. When I started my art business as a full time occupation I was homeless, $20,000 in debt, and had few tools but a laptop. I joke that “I did it with nothing, because nothing is free,” but there’s truth in this… I built what I have now from the ground up because I was passionate enough to keep doing the work no matter what else happened.

I don’t understand why a person would fight as hard as Mr. Wittrig has to profit from the work of another. It baffles me because I have devoted my life to making things which are unique and to marketing them as unique items crafted from a detailed personal philosophy. I don’t view original artwork as a commodity. I have no interest in imitation. If he had spent the time, energy and money that has gone into this lawsuit on designing original work, with its own story and its own unique appeal there would be plenty of room for both of us to succeed on our own merits.

Guys, I realize it’s important to pick one’s battles carefully in life. This might seem like an oddly piddling skirmish for me to throw in on, but honestly, supporting an artist like Unger is at the heart of why I got involved in an online community like Coilhouse in the first place.

If Wittrig wins by outspending, Unger could lose everything. Not just the rights to his own designs, but his house and his studio as well… basically everything he’s been working toward for roughly a decade. But at the heart of it, this is not about financial loss or gain. This is about not letting a bully with a big wallet ruin a truly creative person’s reputation and credibility. When basic protections like these are overturned, it weakens the law for all artists.

We can help: spread the word and if you can afford to, donate a buck or two to Unger’s defense fund. If you have a bit more spending money on hand, check out his incredible, lovingly made fire pits or other pieces– the integrity and beauty of Unger’s work speaks for him better than any press release ever could.

Meredith Dittmar’s fantastic sculpture boxes are at once instantly familiar and refreshingly new. Certainly there is no lack of clean, minimalist, cartoon artwork on display across the internet, but it’s interesting to see how far a little physical depth can go in keeping the idea from being stale or redundant. Simple and fun, they have a dream-like quality I find irresistibly charming and engaging, inviting the viewer to look deeper and search out every little detail.

Please welcome guest-blogger and wunderkammer artist Jessica Joslin’s formal addition to our Staff Page! – Ed.

One of the things that I love about living in Chicago is that it’s merely a hop, skip and a jump away from Wisconsin. For those of you on the coasts, that statement may make little sense. Still, I am wholeheartedly convinced that there’s magic there. Wisconsin’s had far more than its share of brilliant eccentrics, outsider artists and charming crackpots. From Alex Gordon’s jaw-droppingly magnificent House on The Rock –a place whose wide-ranging wonders utterly defy description— to the architectural gems of Gordon’s sworn enemy, Frank Lloyd Wright, to the strange and beautiful man-made grottos that dot the countryside, Wisconsin is a treasure trove of wonderful weirdness.

Eugene Von Bruenchenhein (1910-1983) was a true Wisconsinite, in the very best (and most eccentric) sense of the word. He lived in a world of his own making, hidden away in a modest house in Milwaukee with his beloved wife and muse Marie. During the days, he worked as a baker, but in his own words, he was a “Freelance Artist, Poet and Sculptor, Inovator [sic], Arrow maker and Plant man, Bone artifacts constructor, Photographer and Architect, Philosopher.” In each of his chosen disciplines, Von Bruenchenhein was incredibly prolific. When his work was discovered shortly after his death, his home was literally stuffed to the gills with his creations. His paintings are vivid, apocalyptic explosions of color, swirling with mysterious monsters and elusive, organic forms. The distinctive surfaces are partly a result of his process. Since brushes were often an unattainable luxury, he used his fingers, twigs or bushes made of  his wife Marie’s hair. Marie herself is a lovely enigma. Eugene clearly adored her. She was his one and only model in a series of photographs influenced by the pin-up imagery of the time. In his images, he turned her into a queen, a goddess, a siren… constructing crowns out of tin Christmas ornaments and adorning her with wreaths of pearls.

Left: one of Von Breunchenheim’s bone chairs. Right: A photographic portrait by Von Breunchenheim of his beloved Marie.

It was Von Bruenchenhein’s bone chairs that first caught my eye. They are tiny and intricate, constructed from the detritus of many a chicken dinner. Apparently, he ate a lot of chicken, because he also constructed wonderful little bone towers. They look almost like architectural models of the Watts towers.

I am also fascinated by a snapshot of a wall in his home, probably in the basement, scrawled with his philosophical musings. “Death haunts men forever and finally wins” is written directly underneath “Electric meter” and “Water and Gas.” It’s as if he felt that his revelations needed to be put somewhere permanent, somewhere that could not be misplaced like a sheet of paper. It’s like having the rare chance to peer into his head. Next to a pin-up in a bikini, ever the romantic, he writes: “All go down the drain. Collect yourself. Tomorrow it is too late. Make love worth ALL” – and above a dark water stain, there is “Love is a fire ever bright.”

To see more, visit his extended biography at Kinz + Tillou and view a great collection of photos at the Hammer Gallery site. More images after the jump!

Originally I wrote off Score For a Hole in the Ground as another one of ex-Pogues member Jem Finer’s conspicuous musical stunts, much like his Longplayer and its thousand year composition. Score is in much the same vein. A musical sculpture with a score composed by nature (opposed to the computer of Longplayer), it is based on the Japanese, ceremonial suikinkutsu (literally translated “water harp chamber”) and uses dripping water falling on resonant discs. In order to amplify the sounds Finer created a giant horn, based on the horn of a gramophone. The horn also channels sounds from outside the chamber, such as airplanes and birds, allowing them to meld with the sound of the water droplets.

It’s this that elevated the work for me, I think, specifically the picture above. It’s a ghostly scene, something out of an Edward Gorey illustration or an early Terry Gilliam film, this giant gramophone horn standing menacingly in the fog. It’s in this that Finer’s vision coalesces. Wandering through the forest one hears faint, metallic clangs. Following the sound, slowly becoming louder while remaining just as distant, a towering structure comes into view, emerging from the depths of Kingswood Forest. The real art here is in the discovery.

via The Oddstrument Collection

The outlaw biker image is a break from the conformity that has taken over America since industrialization. My machined pizza cutters draw inspiration from chopper motorcycles and attempt to reclaim the mythology and economic usefulness of the American worker as patriarch; translating machine or functional object into flesh and blood. The outlaw as defiant nonconformist, as well as social outcast, parallels being an artist who makes functional objects and being an individual who takes pride in the power of invention and skill.

A complex and deep way for artist and teacher Frankie Flood to say that he makes badass pizza cutters. These are pizza cutters that will punch you in the face if they don’t like the way you look at them. Pizza cutters who will ride off with that pretty young daughter of yours for a lifetime of reckless and terrible debauchery, never to return. These pizza cutters will fuck your pizza up, no goddamn problem, boy.

via The Daily What

8-EP, by Hyungkoo Lee, from the series Objectuals.

If you’re not reading CONSTANT SIEGE, you should be. Photographer Clayton Cubitt’s tumbleblog diary is full of memorable quotes, photographs and footage, mixed in with Cubitt’s own work. The result is a voyeuristic glimpse at an artist’s audiovisual predilections, similar to Audrey Kawasaki’s ffffound page in the sense that you can draw interesting comparisons between what the author chooses to “clip” and what they produce. Most artists keep a secret stash of images they find interesting, and I appreciate those who share at least a small portion of that with the public.

Together, the past week’s eclectic collection of discoveries – which includes a sensual Gabriel von Max painting titled The Anatomist, a grisly early 20th-century Manhattan crime scene, a silicon sculpture of a human face that’s equally realistic and demonic, the Oriental rat flea, a fascination with with plague doctor masks spanning several posts, the first photo ever taken by Cubitt (at age 5), an SS recruiting poster from Norway that’s perfectly in keeping with Cubitt’s photographic color scheme, and the “Highlights from Wildwood, NJ” video – officially make this the Best Constant Siege Week Ever.

Enlarging My Right Hand with Gauntlet 1 by Hyungkoo Lee

Going a little further back, I was taken by these images from Hyungkoo Lee’s series Objectuals. Lee’s surreal augmentation of the face and body reminds me of Paddy’s Hartley’s experiments with face corsets, and faintly recalls my favorite shot from the movie Brazil. More images from the series after the jump, and yet more on Lee’s site.

The “Golden Mean” snail car, a featured installation at the Fire Arts Festival this year. (Photo by Kim Sallaway.)

Heads up, Californians! The Crucible’s 9th annual Fire Arts Festival, “a spectacular open-air exhibition of astounding performances, fire sculpture and interactive art, lights up the sky at the Crucible’s new Fire Arts Arena in the freeway canyon lands of West Oakland.” Commencing this evening and running through Saturday the 18th, the festival is a full ten acres of installations, vendors, roving theatrics, circus arts, fire performers and aerialists.

For months now, Coilhouse co-editor Meredith Yayanos has been in meetings and rehearsals, preparing for this epic event. She’s a key player in The Rootabaga Opera, the featured musical performance at the festival this year. Composed by Mer’s good friend Dan Cantrell, the massive scale, multi-disciplinary work features dancers, acrobats, 20-foot high shadow puppet projections, pyrotechnics, a chamber orchestra and an Eastern European-influenced women’s choir. The whimsical narrative is based on noted American poet Carl Sandburg’s cherished early 20th century folk tales, The Rootabaga Stories.

A few of the Rootabaga Opera shadow puppets by Mark Bulwinkle. They’ll be projected onto a towering scrim and lit by arc welders.

Other featured music performances will include Poor Man’s Whiskey, BlacKMahal, Lucero, and last but certainly not least, Mer’s longtime chum and collaborator, Amanda Fucking Palmer. Mer actually postponed her move to Middle Earth, NZ specifically to participate in this event. She says “I haven’t been so proud or so glad about a music project in a very long time. I’m hoping to see a lot of our readers there!” Rumor has it she’ll be bringing her penny farthing and her Stroh along, too.

After the jump, some more related videos and images, and a long, illustrious list of artists contributing their large scale installations to the massive fundraising event.