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Better Luck Next Life
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lodiaschewzuck:

Bronze 2013
4 pièces > 2 bronze clair- 2 bronze foncé
lodiaschewzuck:

Bronze 2013
4 pièces > 2 bronze clair- 2 bronze foncé
lodiaschewzuck:

Bronze 2013
4 pièces > 2 bronze clair- 2 bronze foncé
lodiaschewzuck:

Bronze 2013
4 pièces > 2 bronze clair- 2 bronze foncé
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patrickschierer:

Coloured Honeycomb.
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xandt:

Amperxandt, 2014for The New RepublicMarble, Gold, Glass
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opulentjoy:

Gian Lorenzo Bernini - Rape of Persephone
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VILLE LUMIERE ? 
CEDRIC DARBORD
http://www.lyonhiphop.com/
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andrewwags:

fractured table concept model v1. 2013 awags
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whimsebox:

Hand-carved moon face jewelry by luxdivine 
whimsebox:

Hand-carved moon face jewelry by luxdivine 
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colourofthepast:

Follow for more xxx
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lustik:

Creeper, 2013 - Curtis Weaver.
Lustik: twitter | pinterest | etsy
lustik:

Creeper, 2013 - Curtis Weaver.
Lustik: twitter | pinterest | etsy
lustik:

Creeper, 2013 - Curtis Weaver.
Lustik: twitter | pinterest | etsy
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nessiepookinsface:

Bonsai Treehouses by Takanori Aibi
nessiepookinsface:

Bonsai Treehouses by Takanori Aibi
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5582db:

Jonathan Sullam - Unchain My Heart, 2012
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littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/
littlelimpstiff14u2:

The Seashell Sculptures of       Marc Quinn
According to Quinn, the form of the shell is like a found structural diagram of how the present becomes the past, with the rings on the outside of the shell suggesting the past and a polished reflective front showing the present. With these sculptures, the artist is able to collaborate with creatures from the beginning of time, and the beginning of art, and therefore somehow making the shells a part of the space-time continuum.
Through the use of state-of-the-art technology, Quinn is able to create exact scaled models, which are used for the casting of the bronze sculptures. The process begins by selecting real shells from nature, which are then scanned with a digital 3D scanner. That code is then converted into a digital 3D map and outputted to a 3D printer, which produces the shell model to be cast in bronze. Consequently, Quinn’s shell sculptures are born much in the same way that an organism uses its DNA to reproduce.
http://www.marcquinn.com/work/list/tag/selected/
http://highlike.org/marc-quinn-7/