Cardboard Takes a Fantastical Turn in Greg Olijnyk’s Mechanical Insects and Wondrous Dream Factory
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January 18, 2024
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January 18, 2024
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January 5, 2023
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September 21, 2021
Grace Ebert
“Engineering Consciousness.” All images James Lipnickas, shared with permission
New Haven, Connecticut-based artist James Lipnickas conjures towering sci-fi structures filled with futuristic labs, clashes with aliens, and massive laser beams shooting from rooftops. Working in graphite, Lipnickas uses heavy shading to shroud his architectural renderings in mystery and unfamiliarity as tentacled creatures crack through the walls and humans become science experiments. “This series really grew out of my interest in advanced technologies integrating with humans and how it shapes us moving forward,” he says.
Amidst the machines and eerie contraptions, the artist interrupts each building with a level containing a garden bed or an illuminated tree grove. “The future holds many unknowns (technology and lifeforms). We can’t forget the natural world while we move further from it,” he says.
Before the end of the year, Lipnickas will show some of his works at Chicago’s Vertical Gallery and in a few virtual exhibitions with WOW x WOW. You can find more of his drawings, and keep an eye out for an expansion of the series shown here, on his Instagram. (via Jeroen Apers)
“Through Different Identities” (2021)
“Way of the Future” (2021)
“Intelligent Machines” (2021)
“More than Human” (2021)
“A Simulated Reality”
“Techno Human” (2021)
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May 20, 2021
Grace Ebert
“DvG 2.0.” All images by Griffin Simm, © Greg Olijnyk, shared with permission
An eerie pair of buildings, a jet-powered dragonfly, and a sci-fi-inspired retelling of David and Goliath complete with an oversized robot and samurai comprise the latest cardboard sculptures by Greg Olijnyk (previously). Fully articulate and outfitted with LED lights and glass where necessary, the extraordinarily detailed works are futuristic, slightly dystopic, and part of larger world-building narratives. The architectural constructions, for example, are “the start of a series of pieces exploring the fear, fascination, and curiosity aroused by the stranger in our midst. The weird presence out of place. The building of unknown purpose with no windows and with lights flickering at night,” he says. “What’s going on in there?”
Olijnyk is based in Melbourne and shares works-in-progress and more photos of the machine-like sculptures shown here on his Instagram.
“DvG 2.0”
Detail of “DvG 2.0”
“Dragonfly Bot”
“The New Neighbours,” 80 x 75 x 30 centimeters
“The New Neighbours,” 80 x 75 x 30 centimeters
Detail of “The New Neighbours,” 80 x 75 x 30 centimeters
Detail of “Dragonfly Bot”
“Dragonfly Bot”
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September 18, 2020
Grace Ebert
All images © Greg Olijnyk, by Griffin Simm, shared with permission
Until now, Greg Olijnyk’s cardboard robots have been poised for adventure, whether perched on a speed bike or sailing an undulating sea. His meticulously crafted universe, though, has taken an eerie and slightly dystopic turn. The Melbourne-based artist presents fully articulate robots lying on an operating table and attempting to wrangle an aloe plant bound to a cage. Complete with LED lights and glass where necessary, the latest iteration even features an illustrated danger sign, warning that the plant will soon breach its enclosure.
To follow the latest sculptures in Olijnyk’s science-fiction inspired reality, head to Instagram, where he shares process shots and videos of the robots in action.
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August 16, 2020
Grace Ebert
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Eerie, hypnotic, and faithfully depicting the dismal reality that is 2020, a new short film by Lydia Cambron envisions her recent quarantine experience under the frame of Stanley Kubrick’s 2001: A Space Odyssey. In 2020: An Isolation Odyssey, the New York City-based designer recreates the 1968 version’s iconic ending as a way to “(poke) fun at the navel-gazing saga of life alone and indoors,” she writes in a statement.
Positioned vertically, the characters’ movements are synchronized perfectly, but while the original film’s Keir Dullea wades through the ornate home in an astronaut suit, Cambron sports a face mask and latex gloves. The reenactment is situated in the designer’s one-bedroom Brooklyn apartment, and while it maintains the domestic qualities of the original, it also features contemporary updates, like a MacBook sitting on the table rather than a lavish meal. She even parallels the minutes-long credits precisely.
Cambron notes that the contemporary version considers a similarly disorienting life. “Multitasking while #wfh, conjuring guilt or longing with unused exercise equipment, your entire being reduced to a measure of time—these scenes all illustrate the absurd comedy of trying to maintain control during this unprecedented and unpredictable time,” she explains.
Follow Cambron’s parodic explorations—which include an annual exhibition titled JONALDDUDD— on Instagram and Vimeo. (via Daring Fireball)
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in Art “Ondulation” (2014), white zip-ties, RGB LED light, and painted plywood, 36 x 36 x 6 ¼ inches. Photo by Michel Dubreuil. All images © Elisabeth Picard, shared with permission Montreal-based artist Elisabeth Picard curls, fans, and locks together hundreds of zip-ties into tremendously formed glowing sculptures and undulating installations. The futuristic artworks merge geological […] More
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in Art All images © Mattias Adolfsson Mattias Adolfsson’s (previously) impeccably detailed illustrations demonstrate his propensity for a controlled frenzy that borders on the chaotic but never quite passes the threshold. The Swedish artist creates fantastical drawings of city blocks, bizarre collections of writing utensils, and intricate menageries of deceased animals that merge science fiction, whimsy, […] More
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