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Famous for his off-kilter drawings, the artist is now appealing for used tennis balls, building useless clocks – and pulping The Da Vinci Code. He tells us why
Brooklyn-based designer Charlie Baker wrangles unruly branches and twigs into large-scale sculptures and installations that highlight the natural curvature of his foraged materials. Whether cloaking a perfectly round sphere in wood or constructing a treetop nest built for people, he envisions discrete spaces, which are sometimes marked with hidden passageways and windows, that tame the gnarly, knotted wood and present it anew. “I like the sense of motion the curvy pieces create because, to me, it gives a sense that the artwork is living, growing,” he says.
A column of metallic type scales the former Zenger Transformer Substation in Prague, melding the historic venue with the visual identity of the new art institution housed in its space. Conceived by the Czech Republic-based Studio Najbrt, the uniquely positioned logo wraps vertically around the corn
With admirable restraint Braun and Virgil Abloh have gone to the archive and updated one of the brand’s most sculptural designs, the sleek, horizontal 1965 Wandanlage Hi-Fi wall unit. The original’s powder white coated metal is replaced with polished chrome; while that may have been too much in 1965, it’s well suited to 2021. The chrome references both the brands frequent use of the material and Abloh’s “cultural and musical references of the last 100 years.”
Approach the delicate glass artworks by Rui Sasaki, and witness the unpredictable patterns of the weather through a subtle glow of blue light. The Japanese artist’s experiential body of work translates varying forecasts into speckled sculptures that radiate once encountered, an intimate process that Sasaki describes as a way to “visualize subtle sunshine, record today’s weather, and transfer it from here to there/from there to here.”