Sabahs are made entirely by hand from 100% leather in either Texas or Turkey—two regions with distinct yet deeply rooted relationships to the material. The result is a shoe that varies subtly from pair to pair, even within the same size.
The dream is the confusion machine I didn't have to build, a space where perception slips beyond authorship. Within Communal Dreams, influence operates as a subtle signal rather than a directive force.
Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.
"At once naturalistic and highly symbolic, Egyptian art resonated with his enduring search for both monumentality and humanity," Bouvard said. "The opportunity to present his work within a setting of such profound historical and architectural significance offers a rare and compelling perspective on his oeuvre."
I see myself first and foremost as a weaver working at the intersection of craft and technology. As an Angeleno, I grew up learning how to weave in the Wixárika tradition of my matriarchal bloodline by watching my mother and my grandmother.
Much of Instagram's video content is organized around transformation-the virtual magic of the before-and-after and clips that show cause and effect. A person makes pasta from scratch in 20 seconds via edits that compress time-intensive labor.
Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.
From unassuming hunks of Carrara marble and limestone, Matthew Simmonds carves realistic, miniature gothic cathedral arches, stairwells, and colonnades. Often based on architectural details of real places, such as cities around Tuscany and Germany's Bamberg Cathedral, the sculptures portray intimate details of corners, vaulted ceilings, arcades, and stairwells that can sometimes be peeked through additional apertures.
Fiona Twycross, the heritage minister, is to be congratulated for finally giving London's Southbank Centre Grade II listing (Campaigners welcome long overdue' listing of brutalist Southbank Centre, 10 February). I remember being shocked when I first saw it in the 1960s, but it has become a remarkable symbol of the zeitgeist. Its grey concrete and its childlike composition together express the fatalism and despair of a nation in economic and political decline.
The act of painting, like remembering, becomes sanctified not because it reveals truth, but because of the care and attention it requires. The devotional quality throughout this work is not religious, exactly, but borrows the aesthetic language of reverence: chandeliers, glowing skin, sacred gestures.
A circular concrete ring forms a defined boundary, incorporating a landing and three steps that lead into a contained field of refined sand. At the center of this ring rises a tall cone clad in polished mirrored steel. The composition establishes a clear geometric contrast between the horizontal plane of sand and the vertical reflective surface.
The 10ft sculpture depicts a confident woman of colour striding in a blue dress and heels and is meant to represent a contemporary everywoman that 'many can relate to'. She is not an idol to venerate or a historic figurehead to commemorate. She is a woman striding forward into our collective future with ambition and purpose. She is a Londoner who represents the city's spirit.
