I ran across Slinkachu’s work a couple of years ago. He never seems to run out of fresh material for his tiny satirical street portraits. His book cover for Dimitri Verhulst’s book The Misfortunates is a great example. Even more interesting: when he completes the project, he abandons the set and lets the little folk fend for themselves. File this under: wish I had thought of that.

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Body  |  Food

Haha, Cool!
Check out more see carving instructions.

This carving was inspired by watermelon lovers Michelle Langer and Kate Surbey from Georgia. Thanks to watermelon.org for the photo and carving instructions.
Helpful hints . . .
- Drain cut watermelon and other fruit before placing it in the carving.
- When removing excess flesh try to leave it in big pieces – easier for making melon balls or cubes.
- Use a green dry erase marker – wipe off excess marker after making cuts.
Materials needed:
1 medium-large round seedless watermelon
Cutting board
Large kitchen and paring knives
Green dry erase marker
Toothpicks
Large bowl and spoon
Wash the watermelon under cool running water and pat dry. Placing the watermelon on its side, cut ¼” off the light yellow ground spot on the bottom so that it sits flat. Be careful not to cut too deep into the white part of the rind – this would allow liquid to leak from the bottom of the carving. Place the watermelon so that its stem will be the nose.
Find a point at the top of the watermelon about ¼ of the length of the watermelon. Using the dry erase marker, from that point, draw vertical lines half way down both sides of the watermelon. Then, from both points on the sides, draw horizontal lines straight to the back of the watermelon. If you are happy with your proportion, use your knife and cut the lines. Remove this whole portion and place to the side.
Using a large spoon, scoop out the fruit from the removed section and from the base. Chop this fruit into small cubes, drain and set aside.
Use a small paring knife make many small cuts to the edges of the head and body, as shown in the photo. These cuts should be short, small, irregular, angled, curved and almost resemble flames from a fire. Small irregular cuts create the look of the hedgehog’s coarse coat.
Take the removed rind and cut a 1 ¾” strip from the flat end. You now have a slightly rounded strip. Cut a triangle from the center of the strip to make the nose. To attach the nose, place toothpicks just above the stem spot to both side, and slide the base of the nose over the other end of the toothpicks, rind end down. You may need to secure with an additional toothpick. Put one in the tip of the nose and place a blueberry on the end.
Using the rest of the removed rind, cut 4 equal sized rectangles for the feet. Trim the backs of the rectangles thinner than the front, and then make two cuts on the front of each piece to create a point making the shape of a paw. Attach with toothpicks rind end down to the bottom edges of the hedgehog as shown.
To make the ears, draw two curved triangles that come to a point into the edges of the face area where desired. Carefully cut with the paring knife. Using your finger, gently push out the cut shape from the inside until it’s only slightly protruding, being careful not to crack or break the rind.
For the eyes, simply place 2 toothpicks slightly above the nose and put a blueberry on each end.
Finally, replace the hollow space of the hedgehog with the watermelon cubes. Place toothpicks in the cubes at the top to create the hedgehogs’ coat.

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Designer: Sangwoo Lee

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Striking a balance between simplicity and intricacy, husband and wife design duo John and Svetlana (Lana) Briscella seamlessly merge their talents in Aminimal, a multifaceted studio that pushes the dimensions of industrial design. Aptly named, Aminimal aims to artfully spin the belief that minimal design comes from constrained concepts. "Aminimal has the word minimal inside but reads atypical, like something different," Lana explains. Aminimal’s name is also often misconstrued as the word "animal", a slip that the duo creatively embraces and occasionally integrates into their designs.

After meeting in Vienna, John and Lana set up shop in New York in 2011. Based in Brooklyn, the duo’s designs have an abstract, urbanist appeal. Culling from their travels and dwellings in various cities as well as from John’s academic background in Urban Strategies, Aminimal draws from the grid-like patterns of metropolitan spaces to create customized map mementos. Turning a memorable meeting place into commemorative and, in the case of the NYC Cork Board, functional art pieces, Aminimal celebrates "an emotional connection to the city."

The couple spent time in Paris before landing in the States, and paying homage to their former haunt, Aminimal tested the limitations of dimensionality by re-interpreting the Louis XIV Ghost Armchair by designer Philippe Starck as a 3D cutout shroud of a map of Paris. Matching conceptual forwardness with technical precision, Aminimal uses a variety of tools. However, they cite their best tool as the "connection between our heart, brain and eyes."

Initially exploring the energy of intersecting points through lamp designs—namely the polygonal-shaped Contact Window Lighting System—Aminimal added anatomy to the equation with its jewelry line, the Field Test Collection, which is "designed around the premise of structures found in magnetic fields." The couple also created the Second Skin Watch, which swaps numbers for LED lights. The timepiece answers the age-old design challenge to "make a watch that’s not a watch", presenting a futuristic study of the human hand’s natural contours, modeled after the flow of pouring water.

Aminimal’s innovative Calibration Stool and its Lounge counterpart, respectively evocative of a porcupine and spiny caterpillar, are made up of multiple wooden legs to create what they call a "3D rocking chair". Bucking the notion that people remain creatures of habit, the Calibration Stool enables a person to move into a variety of seated positions by pivoting their weight against the numerous leg options.

Inspired by nature, Aminimal also turns to geometric formations. "In industrial design, you look for a line," says John. "You’re looking to re-purpose analogies in your design. What I was looking for was, ‘What is the negative and positive of points and what is the reaction that causes the relationship?’"

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A long career in industrial design informs Martha Davis‘ footwear, who launched her first shoe collection in 2009. The multifaceted designer spent the last few months at San Francisco’sWorkshop Residence, creating shoes by hand from custom steel shanks, vegetable-tanned leather and reclaimed wood from the Bay Area. Debuting today, the three new styles represent Davis’ embrace of natural materials and minimal fashion.

Davis found her work straying away from objects for a time, as she moved into designing user interfaces for digital products. "That’s when I decided to go to Italy," she says, feeling a need to make things once again. While she appreciates the traditional craftsmanship she learned abroad, the need to experiment eventually won out. "The Workshop Residence was an opportunity for me to really play around with stuff, and I’ve always been interested in natural materials and how to use things without disguising them."

Davis is the third participant of the Workshop Residence, an organization that provides makers from all walks with the space, funds and access necessary to realize their creations. "I think of the Workshop as being an incubator for makers and designers with Bay Area local manufacturers," says Davis. Much of Davis’s work relies on the Workshop’s relationship with local manufacturers. For the steel shanks of her shoes, no local manufacturers could be found, so a local metalworker was called upon to custom build the pieces.

All materials used in the collection were sourced locally. The uppers are made from thick, vegetable-tanned leather, and the wooden heels upcycled from a variety of sources. Davis used the remnants of forests burned by local wildfires, their charred character pairing nicely with the designer’s unfinished aesthetic. She also reached out to a San Francisco trolley repair shop for discarded wooden brakes, which are made from Douglas fir and disposed of after only a few days of use.

The shoes strike a balance between chic and utilitarian. "My approach is always fairly architectural," explains Davis. "I don’t do a lot of decorating." One of Davis’s more progressive creations has an elliptical heel that can be turned on its side to bring the height down by an inch.

Martha Davis’s collection launches with an event tonight, 24 February, 2012 from 6-9pm at the Workshop Residence and is now available through their shop.

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To say that nudity is trending is nothing new. The statement has certainly rung true for the last 60,000 years, or at least since we began walking upright and admiring each other’s progressively less hairy bodies. Appreciation of the naked form plays many roles in art, culture and society, and while photographer Max Snow doesn’t strive to dissect this complicated relationship in his show "100 Headless Women", his unique take on portraiture explores how the body can tell a deeper story.

For his project Snow photographed topless women of varying shapes, sizes and ages. In each image, the subject’s face has been obscured, leaving her as an anonymous entity. Unidentifiable only in facial features, their bodies weave a rich history, expressing their personalities as clearly as a smug smile or stone cold stare. Shrouding the subjects in mystery, their ink masks force the viewer to flex their imagination. The longer you spend with Snow’s work the more you appreciate the sense of protection he creates with his device.

We recently caught up with Snow to talk about the upcoming show in New York City.

Tell us a little more about the concept for the show.

"100 Headless Women", it’s something I have been working on for a little over a year. It’s just something I got in my head and couldn’t get it out. So the only way to have some reprieve from that was to put it on paper and slap it on the wall. It’s not really a hundred, it just had a good ring to it, there’s going to be thirty in the show. I don’t know what it was about giving subjects and portraits some anonymity that is alluring to me. I did it once and I couldn’t stop, I could identify more with portraits after it’s done because you don’t put judgement on things, you focus on other things, they become shapes and less about what you may think of the subject. I like not seeing the eyes and obscuring the face because that’s what everyone always says tells the story. To deny that makes you look at it in a new way.

What first got you stuck on this idea?

It was a series I was working on called "Black Magic" in Amsterdam. I’d always experimented with adding another medium to photographs and it never really came off as something I was pleased with until I started playing with these lithographic inks. I don’t know why I had to do it that first time but it just worked for me.

What appeals to you about the blacked-out features?

It’s not an anonymous thing in a censorship way. It’s more about being able to focus less on what it is and more on what it is, you know? It adds a mystery to the thing, it adds some mythology to it, it’s no longer just a portrait, it’s something more. Collectively as a group they become like a cast of characters from a story that was never told or a historical event that never took place.

Why do you focus solely on women?

I think it’s more fun to fantasize about women than men but "100 Headless Men" could be next.

How does the human form fit into your work?

I’ve always been interested in people. Before I did studio work I did photo journalistic stuff, I was photographing the troops in Afghanistan on the front lines. I’ve always been interested in people and I think that clothes are a distraction, nudes are timeless.

How did you end up in Afghanistan?

It’s actually a funny story. I was 20 and I was supposed to intern that summer for Patrick Demarchelier. It was supposed to be set up, I spoke to them months before I interviewed and it was all worked out, they said, "Great! You got the job, you’ll probably just be buying coffee" or something like that and I was like, "Sweet, I’ll be in the studio with sexy women buying them coffee." So I called to follow up and they were like, "Who are you, I don’t know what you’re talking about, don’t call again." I was bummed out for a second and then a friend introduced to me a friend who was shooting for Time in Afghanistan, then I met a writer from the Sunday Times of London and I went out on assignment with him and that’s how it started. It put mortality into perspective.

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The installation Network Time consists of several Wi-Fi routers arranged in the gallery space providing free Internet access to visitors. The LED that reflects the data-traffic of each router is extended along a fiber optic cable magnifying its flicker. Although the devices look only physically modified, the artist has altered the operating system of each router, to manipulate the fluctuation of the fiber optics. The installation is a network architecture installed in a physical setting, framing information as situated, temporal and contextual, constructing a permeable interactive and extended space.

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Welcome to a colorful small apartment in Barcelona, Spain, especially designed to answer the living needs of a young couple. Found on MiCasa, this happy home is filled with personality and original design elements. Tall ceilings, exposed beams, pipes and plenty of color-all these elements reinvent the sober industrial style and contribute to a fresh atmosphere. With a clever and space-saving layout, every corner of this small apartment is taken advantage of to the fullest. A bright orange armchair and ottoman is the focal point of the living area and creates a wonderful reading spot next to the large window. Practical furniture solutions (a coffee table on wheels, built-in storage space, a suspended small bed) give the sensation of a decluttered, playful home. How do you appreciate the overall design style of this apartment? See any decor ideas you would like to use in your own crib?

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