Brazilian artist Henrique Oliveira’s incredible installation titled Transarquitetônica invites you to go on a fantastical journey through a cavernous interior. The recently-completed work is his largest to date, and he has successfully created a fully-immersive environment inside of a large, root-like system. Upon entering, you can follow multiple paths that lead you throughout the sculpture while you’re completely surrounded by repurposed wood pieces that are tacked together and resemble bark on a tree.
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Seoul-based artist Seon Ghi Bahk’s work explores the complex relationship between nature and mankind. He uses charcoal, a natural substance created from the burning of trees, to recreate architectural forms that humans use for shelter. According to the artist, it is common in Western culture to disregard nature and see it only as a tool that we use to establish human civilizations. Through these installations, Bahk asserts that this way of thinking is pure fiction. Similar to how his airy representations of architectural columns are possible only due to the charcoal that formed from organic geological processes, the development of human culture is impossible without nature.
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Japanese artist Yusuke Asai decorated the walls and ceiling of this classroom with a sprawling, intricate mural painted with mud. Sweeping curves, patterns, and shapes form abstract depictions of people, plants, and animals in this magnificent painting. For those lucky enough to see it in person, Asai’s work makes for a completely immersive experience, as viewers can gaze in every direction to find playful details and intricacies of the abstract universe that Asai has created.
Asai painted this stunning work of art in the Niranjana School as a part of the Wall Art Festival held in Sujata Village, a small village in the poor Bihar state of Northeast India. Along with other Japanese and local artists, Asai used the walls of the school as his canvas in order to raise awareness of how the children and villagers of Bihar live.
The artists’ other goal was to bring art into the lives of the schoolchildren, who are isolated from cultural centers like New Delhi. Asai used local dirt, dust, ash, and straw to produce his wall paintings as a way to appreciate the earth and land that local farmers’ depend upon for their livelihoods. After exhibiting the mud paintings, Asai worked with the children to wipe away his work, returning the material to the soil and teaching the students the meaning of life as a cycle.
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