Andrew Myers Decides To Screw Art. Portraits Made With A Drill and Philips Head Screws.

It's hard to know whether or not to call Andrew Myers' work paintings or sculpture. A bit of both, Artist Andrew Myers uses anywhere from 8,000 - 10,000 screws (which he then hand paints) drilled into boards to create thoughtful portraits of men and women.




His backgrounds are created from a collage of telephone book pages. Despite the unusual mediums, the completed images are surprisingly soulful.

This recently completed screw portrait used 9,800 screws:


Other screw portraits by Andrew:



above: Portrait of John. Dimensions 48 in x 48 in x 5 in. Medium: screws, oil paint and phone book pages



above: An Artist's winter. Dimensions 24 in x 24 in x 4 in. Medium: screws, oil paint and phone book pages



above: Portrait of Bill. Dimensions 24 in x 24 in x 4 in. Medium: screws, oil paint and phone book pages



above: Portrait of Sabrina. Dimensions 48 in x 48 in x 5 in. Medium: screws, oil paint and phone book pages

About the artist:


Since his early childhood, Andrew Myers has been artistically influenced by european life and culture. Born in Braunshweig, Germany and raised in Ciudad Real, Spain his exposure to modern continental living and classical architecture prompted the universal and classical themes, yet modern design found in his artwork.

At the age of 20, Myers applied to the Art Institute of Southern California (now known as the Laguna College of Art and Design); with no previous art training, he was accepted based upon the natural talent his application portfolio evidenced. The young artist developed his skills through advanced figurative sculpture and accelerated painting curriculum. While these two and a half years of creative training provided Myers with the basic working knowledge of the artistic field, it was his drive, passion, and leap of faith into work as a full time artist that allowed him to cultivate his particular style. Myers blends modern material with classical figurative technique featuring a universal subject matter that is prevalent throughout his work. It is his unification of these three characteristics that results in the innovative and modern artwork that captivates viewers and has been so highly acclaimed nationwide.

Most recently, Myers has been working on public commissions, some of which include, St. Catherine’s Catholic Church in the Diocese of Orange and a public work for the City of Laguna Beach, California, as well as several private client commissions.

Andrew Myers

The Next Best Thing To Being Cloned. A Frighteningly Lifelike 3D Mask Of Your Face.

These realistic full sized face masks are truly incredible likenesses. So much so that they most likely will creep you out while simultaneously amazing you. Making full use of a technology called Three-Dimension Photo Form (3DPF), Real-f - short for REALFACE- of Japan will create an exact duplicate of your mug in the form of a hard plastic mask within a relatively short time and at an affordable price.

Below is a model holding the mask in front of her real face:

And the model holding the mask next to her own face:

Close-up details of the mask:



Osamu Kitagawa (shown below with his own mask), who established REAL-f in June of 2011, spent a couple of years developing the products after leaving Dainippon Screen Mfg.Co.,Ltd. ("Screen") in 2009. During the interviews of "Human Copy Machine" which was developed by himself at the former company, he desired "Not a flat copy like a poster but a three-dimensional copy to be realized -- " and decided to start REAL-f with technique called "Three-dimension Photo Form"




The 3DPF technique makes it possible to duplicate pores, eye's blood vessels and iris exactly the same as the originals. Details like eyebrows, stubble and eyelashes are the impeccable.






In about two hours (one for photographing the subject and one for taking an impression of the face) the REALFACE mask will be complete. They keep the original mold for a period of time during which you can order more without the initial set-up cost. The original can then be sent to the customer or destroyed depending upon their preference. Delivery time of the mask is about two weeks.



Because the REALFACE mask is made of a hard plastic, the lips cannot move, therefore showing teeth is not possible. They can create holes where there eyes are so that you can see when wearing the mask.




Basic rates includes taking photos and impressions of face, producing the original model and photo image correction. For the first one, they charge you for basic rates and production fee of the REALFACE mask. The cost is 300K JPY (about $3700 USD) for the basic rate + the first mask and 60K JPY  ($740 USD) for the second one and upward.

Although they can ship anywhere, the process can only occur at their shop in Japan located at 25-17-513 6-chome, Shimo-Sakamoto, Otsu City, Shiga pref. Japan, 520-0105.

Real-F had intended to begin creating full heads with this process, but have ceased that project in order to pursue creating a 'soft' version of the mask, not yet available.

all images courtesy of REAL-f



Real-F

Nude Nutcrackers. 18 Life-Size Female Mannequins Crack Pecans Between Their Thighs In An Interactive Art Installation.

Exhibited in The Dallas Contemporary’s largest gallery space, Nutcrackers - an installation by artist Jennifer Rubell, consisted of 18 life-size interactive sculptures of women (aka mannequins) surrounding a pedestal holding one ton of Texas pecans.









Each prefabricated female mannequin was mounted on her side in an odalisque position and had been retooled to function as a nutcracker. Visitors interacted with each sculpture by placing a pecan in the mannequin’s inner thigh, then pushing down the upper leg to crack open the nut so they could eat it in the gallery.







Rubell was inspired by nutcrackers depicting female figures - and in particular one found on the internet of Hillary Clinton, The Hillary Nutcracker, - these interactive sculptures embody the two polar stereotypes of female power: the idealized, sexualized nude female form; and the too-powerful, nut-busting überwoman. The work also serves as a prompt to action, encouraging the viewer to transgress the traditional viewer-artwork boundary and complete the work by participating in it.

More pics of the installation:












Photos by Andrew Ryan Shephard


About the artist:


Jennifer Rubell creates participatory artwork that is a hybrid of performance art, installation, and happenings. The pieces are often staggering in scale and sensually arresting, frequently employing food and drink as media: one ton of ribs with honey dripping on them from the ceiling; 2,000 hard-boiled eggs with a pile of latex gloves nearby to pick them up; 1,521 doughnuts hanging on a free-standing wall; a room-sized cell padded with 1,800 cones of pink cotton candy.

Viewers are encouraged to partake in the work, violating the traditional boundaries of art institutions and engaging senses usually forbidden in or absent from museum and gallery contexts. Rubell’s work explores the intersection of the monumental and the ephemeral, and serves as a counterpoint to the virtual nature of much of contemporary life.

Some of Rubell’s notable previous projects include Old-Fashioned, at the Los Angeles County Museum of Art; The de Pury Diptych at the Saatchi Gallery, London; Icons, at the Brooklyn Museum; Creation, for Performa, the New York performance-art festival; and, since 2001, a yearly breakfast project in the courtyard of the Rubell Family Collection in Miami during Art Basel Miami Beach.

Rubell, 42, received a B.A. from Harvard University in Fine Arts, and subsequently attended the Culinary Institute of America. She wrote about food for over a decade prior to beginning her artistic practice, including columns in the Miami Herald and Domino magazine, and the book Real Life Entertaining (Harper Collins). Rubell lives in New York City.

See more of artist Jennifer Rubell's work here