That's phenominal!
Euan
Sex and origami
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EuanBingham
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amazing...
the high-resolution picture :
[img]http://www.origamitessellations.com/uploaded/mask.JPG[/img]
I wonder how many hours he needed to do this...
the high-resolution picture :
[img]http://www.origamitessellations.com/uploaded/mask.JPG[/img]
I wonder how many hours he needed to do this...
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EricGjerde
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Joel Cooper
He told me that he's been folding these types of masks over the last 3 years or so.
I think it's one of his favorite things to do with his tessellation artwork.
I think it's one of his favorite things to do with his tessellation artwork.
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wolf
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I'm curious to hear your theories on these. I'm not sure I'll want to spend hours folding a tessellated pattern on a region the size of a coin just to get a face...mleonard wrote:I was going to post something quite vague and theoretical about different sorts of pleats and how they might be used for making faces.
The image is quite striking and indeed all of Joel Cooper’s tessellation work that I’ve seen so far is stunningly beautiful.
As to ‘solving the problem’— that will depend on what you’ve defined for yourself as the problem. Look closely at what is done here. When you tessellate a sheet and thus laterally condense it, you escape ONE of the constraints that is binding for most origami: the non-elasticity of the sheet. It still takes a great deal of skill and sculptural ability, but effectively any protruding shape that doesn’t re-expand the paper beyond its original limits can be made from this. Of course you will end up with an image that has a surface texture (and a varying one): in the case of this sculpture that’s a desirable outcome, as it wonderfully shows the continuity with the texture of the surface while contrasting its sensibility (‘automatic’ vs. ‘human’). In other circumstances though one may not want this.
Anyway, hats off to Joel. We absolutely want to see more!
S.
As to ‘solving the problem’— that will depend on what you’ve defined for yourself as the problem. Look closely at what is done here. When you tessellate a sheet and thus laterally condense it, you escape ONE of the constraints that is binding for most origami: the non-elasticity of the sheet. It still takes a great deal of skill and sculptural ability, but effectively any protruding shape that doesn’t re-expand the paper beyond its original limits can be made from this. Of course you will end up with an image that has a surface texture (and a varying one): in the case of this sculpture that’s a desirable outcome, as it wonderfully shows the continuity with the texture of the surface while contrasting its sensibility (‘automatic’ vs. ‘human’). In other circumstances though one may not want this.
Anyway, hats off to Joel. We absolutely want to see more!
S.
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JMcK
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Ooh:
More tessellation masks from Joel Cooper
Joel has also added a comment to Eric Gjerde's earlier post. Here's the link again:
Joel Cooper
More tessellation masks from Joel Cooper
Joel has also added a comment to Eric Gjerde's earlier post. Here's the link again:
Joel Cooper
These are great--I like them even better than the first one.
It's been important to me to try to do something which---as I am not ashamed (merely chagrined) to admit---Joel has succeeded at more than me: to show in a single work a transition, and at the same time a contrast, between what might be called the 'language of flatness' and the 'language of fulness'.
What these terms mean ought to be obvious to anyone in origami, & in any case these pieces make it pretty clear. --But why should combining several forms or languages in one work make any sort difference?
I think the main reason is that it makes one aware of the medium, and so, along with the element of surprise, draws even more attention than usual to the act of creation, to the something-from-nothing.
About representational languages, a few posts ago when I mentioned the sculptures of the Cubist & modernist Archipenko, I had exactly this in mind. Take a look at this wonderful nude, standing casually in the bronze-sculpture garden of the Israel Museum:
http://www.saadya.net/misc/Archipenko.jpg
The figure is a harmonious whole; but look at how many different 'languages' went in to the making of it: Rounded, naturalistic shapes; Negative linear space; negative 3-D space; Inscribed curves; 'Welding'-type angled flat iron; and on and on… The artist must, one imagines, have asked himself first: What are all the different possible ways of expressing sculptural form? And then: How many of these can be squeezed together simultaneously in one work without spoiling the effect?
Doing this in paper as Joel has, and focusing mainly on the specific continuity-difference of flat vs full (which ArchieP by the way also does in other works, only not with paper) gives I think an even more dramatic effect. The tessellations with their hard folds bring out the paperness of the paper; and the use of them to suggest hair around a protruding 3D shape is especially nice. The surprise and the emergence from linearity would surely have thrilled MC Escher too, one supposes.
And now, if only for the sake of this slender thread, if Mr. Cooper could be prevailed upon to show, or make, a Female . . .
It's been important to me to try to do something which---as I am not ashamed (merely chagrined) to admit---Joel has succeeded at more than me: to show in a single work a transition, and at the same time a contrast, between what might be called the 'language of flatness' and the 'language of fulness'.
What these terms mean ought to be obvious to anyone in origami, & in any case these pieces make it pretty clear. --But why should combining several forms or languages in one work make any sort difference?
I think the main reason is that it makes one aware of the medium, and so, along with the element of surprise, draws even more attention than usual to the act of creation, to the something-from-nothing.
About representational languages, a few posts ago when I mentioned the sculptures of the Cubist & modernist Archipenko, I had exactly this in mind. Take a look at this wonderful nude, standing casually in the bronze-sculpture garden of the Israel Museum:
http://www.saadya.net/misc/Archipenko.jpg
The figure is a harmonious whole; but look at how many different 'languages' went in to the making of it: Rounded, naturalistic shapes; Negative linear space; negative 3-D space; Inscribed curves; 'Welding'-type angled flat iron; and on and on… The artist must, one imagines, have asked himself first: What are all the different possible ways of expressing sculptural form? And then: How many of these can be squeezed together simultaneously in one work without spoiling the effect?
Doing this in paper as Joel has, and focusing mainly on the specific continuity-difference of flat vs full (which ArchieP by the way also does in other works, only not with paper) gives I think an even more dramatic effect. The tessellations with their hard folds bring out the paperness of the paper; and the use of them to suggest hair around a protruding 3D shape is especially nice. The surprise and the emergence from linearity would surely have thrilled MC Escher too, one supposes.
And now, if only for the sake of this slender thread, if Mr. Cooper could be prevailed upon to show, or make, a Female . . .
Last edited by saadya on January 8th, 2006, 5:53 pm, edited 1 time in total.
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mleonard
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That is indeed stunning. I am not sure if I dare to suggest that it bears more than a passing resemblance to my own piece above... Archipenko has obviously been stealing from me...saadya wrote:Take a look at this wonderful nude, standing casually in the bronze-sculpture garden of the Israel Museum:
http://www.saadya.net/misc/Archipenko.jpg
Absolutely. I would also like to see what would happen if he decided to venture beyond the face, and tackle the body.And now, if only for the sake of this slender thread, if Mr. Cooper could be prevailed upon to show, or make, a Female . . .
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thedeadsmellbad
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thedeadsmellbad
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a side note on the resolution of the photos on the flickr site.
if you look at the address of a photo, say, fujimoto lampshade , and alter it with a _o at the end, you get the full resolution. For some strange reason they do not post a link to this.
ex.
largest size link
http://static.flickr.com/39/87054668_c9571a032a_b.jpg
largest size
http://static.flickr.com/39/87054668_c9571a032a_o.jpg
if you look at the address of a photo, say, fujimoto lampshade , and alter it with a _o at the end, you get the full resolution. For some strange reason they do not post a link to this.
ex.
largest size link
http://static.flickr.com/39/87054668_c9571a032a_b.jpg
largest size
http://static.flickr.com/39/87054668_c9571a032a_o.jpg
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EricGjerde
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quite note on Flickr image size
Flickr users can set how much or how little of their content the general public can see- however, if you know the URL for an image, you can access it regardless of what the permission settings happen to be.
Joel might not have the "All Sizes" permissions turned on for any users, but if you are marked as one of his contacts then they are enabled.
I'm pretty sure, though, that if you have a flickr account he'd be happy to add you so you can see all his content at full size, comment on it, etc.
I guess I always hated it when people asked me to sign up for new services, but using Flickr has really opened up my origami world view, so I'm quite happy to suggest people use it! There's a pretty nice group of origami people on Flickr.
-Eric Gjerde
Joel might not have the "All Sizes" permissions turned on for any users, but if you are marked as one of his contacts then they are enabled.
I'm pretty sure, though, that if you have a flickr account he'd be happy to add you so you can see all his content at full size, comment on it, etc.
I guess I always hated it when people asked me to sign up for new services, but using Flickr has really opened up my origami world view, so I'm quite happy to suggest people use it! There's a pretty nice group of origami people on Flickr.
-Eric Gjerde
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EricGjerde
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oops!
I agree with what you said- flickr has always tagged it's photos that way. I'm sorry I didn't clarify about that.
I was just plugging Flickr as a photo service :)
Of course, it's much more than a photo service- the interaction is just as much fun, if not more so, than looking at photos.
I was just plugging Flickr as a photo service :)
Of course, it's much more than a photo service- the interaction is just as much fun, if not more so, than looking at photos.