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Bill Durgin

His name is Bill Durgin, he lives in N.York and he loves human figures. His official work is a photographer, but his “figure” series, prove that he has also a bent for sculpture! Through his lenses he create sculptures of human bodies…with just a click!


Since 1997, the building sitting at the corner of 6th st. and howard st. in San Fransiscio, California has been a sculptural mural. the piece consists of tables, chairs, lamps and even a grandfather clock, all hanging precariously out of the building’s windows. known as ‘defenestration’ (a word meaning to throw out of a window) the sculpture’s various pieces are all fastened to the abandoned building to create the illusion of falling. The pieces was conceived of by local artist Brian Goggin.
Via: designboom

Levi Van Veluw

1985 Levi van Veluw Born in Hoevelaken, the Netherlands
2003-2007 Artez School of Arts, Autonomous Arts, Arnhem
2006 Internship Erwin Olaf

Kendall Buster

New Growth is an inventory of architectural models that operates in the territory where architecture and biology might meet; an imagined city where old forms generate new forms through processes that suggest germination, budding, merging, hybridization, or absorption.
This model
city is a single organism conceived of as a functioning system of interdependent parts. It is also a grouping of autonomous structures that operate like competitive independent organisms in a loose highly provisional community. Some are connected by passageways that suggest either umbilical cords or parasitic invasions. Contiguous membranes create distinct regions in the city and the transparency of these membranes allow inner layer to be visible through outer shell. These porous membranes also operate as a continuous plane where exterior protective shell wall folds in to become interior vessel lining wall. (more)


Michael Mararian

Michael Mararian possesses a poetic propensity for taking traditionally cheerful images and concepts and turning them into frightening, yet humorous, tableaus. Focusing on children as the last bastion of innocence, Mararian draws on a diverse range of influences to deliver the peculiar ink work he aptly calls, M. Mararian’s Inky Dreadfuls. In this world our fondest visions of childhood’s naiveté are darkly rearranged to uncover lost innocence and the fear of our modern times.