The Awesome Environments Of Zhichao Cai
Art director Zhichao Cai (aka Trylea) uses no tricks or photocomping in his amazing, ridiculously vertical compositions, featuring incredibly pushes perspectives, impossible architecture and a plethora of detail to scour for in his incredible digital painted illustrations. As an art director at the Hangzhou, China based Gamecox, his emphasis is on creating striking worlds via his knack for environment painting, which he’s really damn good at.
Zhichao uses personal narratives to give thematic direction to his pieces, including crafting lore including projects like his personal set of paintings titled Legend Of Yunzhong, featuring five kingdoms based off of 5 elemental powers (All after the break). If you’re in the mood to gawk at some impossible, fantastical landscapes, you’ll get your fill with this incredible art. Enjoy.
Grant Wood saw a house in Iowa that he decided to paint along with “the kind of people I fancied should live in that house.” He chose his sister and his dentist.
Here’s the house…
Artist Zdzislaw Beksiński is best known for his immense, obsessively detailed paintings of catastrophic landscapes, surreal humanoid figures and afflicted nudes. Born in 1929, he grew up in southern Poland, then traveled to Krakow to study architecture where he subsequently spent several miserable years working as a construction site supervisor. His work from that era is primarily photography and sculpture.
In his mid thirties, Beksiński shifted his focus to painting large, purely abstract pieces on wooden boards (he preferred wood to canvas). Eventually, their form and structure became more straightforward and he entered a self-proclaimed “fantastic period” reminiscent ofBruegel, Ernst or Bosch, and drawing comparisons to his Swiss contemporary, H.R. Giger.
Beksiński’s post-apocalyptic vision, much like Giger’s, is uniquely disturbing owing in part to a highly developed architectural eye. His manipulation of scale and manic overworking of texture is ingenious. Overwhelmingly huge structures rise up from dust or empty desert. Sinewy figures cavort under ominous skies.
Although he depicts a harrowing world, Beksiński claimed that much of his work is misunderstood. Like Kafka (known to laugh hysterically when reading his own stories aloud), the Polish painter was often amused by his own work. He insisted his vision was ultimately optimistic.
Like a cathedral or skyscraper, many of his paintings are strangely life-affirming in a shock-and-awe sort of way. Blighted lovers embrace, cheery balloons float above crumbling towers, a tiny man holds a light aloft at the bottom of a deep chasm…
But yeah, heebie jeebies nonetheless…
Beksiński claimed to abhor silence and listened continuously to classical music while he painted. He was soft-spoken but surprisingly gregarious, given his bleak body of work. In the late 90s, captivated by computer technology and the internet, he shifted his focus again, this time to digital art/photography. These pieces proved to be far less critically or commercially successful than his paintings.
Thus began a very tragic era for the man. In 1998, after years of illness, his wife Zofia died. A year later, his son Tomasz (a popular Polish radio personality and movie translator) committed suicide. Beksiński, who discovered his son’s body, was never quite the same.*
News of Beksiński’s own death in early 2005 was difficult to fathom. On February 21st, the artist’s body was discovered in his Warsaw flat, stabbed 17 times. Robert Kupiec (the teenage son of his caretaker) and a friend were soon arrested. Apparently Beksiński had refused a loan to the boy, prompting the attack. Kupiec pleaded guilty and is now serving 25 years in prison. His accomplice, Lukasz Kupiec, will be up for parole in a couple of years.
- appropriately gorgeous Beksinski website
- buy The Fantastic Art of Beksinski book
- a large online gallery
* An interesting sidenote: Tomasz, like his father, loved music, especially The Legendary Pink Dots. After his suicide, the band’s Polish reissues featured many of Beksinski’s digital art as covers, dedicated to Tomasz.
Posted by Meredith Yayanos
Here’s What Happens When You Mix Soap, Oil & Ink Together
ALEX WAIN AUGUST 7, 2013 2
Whilst you use ink in your stationary, oil for your bike and soap to wash yourself everyday, its rare that all three liquids come into contact with one another.
What would happen if they did? Would blending ink, soap and oil produce something similar? Or would they just cancel each other out into a soapy sludge? That’s precisely what Russian visual artist Ruslan Khasanov was compelled to find out and so he decided to embark on a series of fun experiments to test his theory.
His inspirations came whilst cooking one night, when he noticed the mixture of soy sauce and oil separating out into small black beads in his dish. Taking the same logic, he mixed different quantities of soap, oil and ink together and filmed the results. Amazingly, his unique concoction produced a vivid blend of yellows, magenta, whites and blues – all completely experimental and all mesmerising to look at.
You can experience more from the project via his official Behance profile
I Took A Long, Memorable Walk Through Hong Kong — Here’s What I Saw
Last Saturday morning in Hong Kong, I went to brunch with friends at a restaurant called The Square.
The Square serves dim sum, a type of breakfast food oriented around pastries with meats in them and sweet rice confections.
Then I walked back to my hotel, the Courtyard Marriott in the Western district.
It was a long, meandering walk.
During my walk, I saw a bright green Lamborghini, stood on an escalator that took me across the city, and walked past a flattened pig face hanging from a storefront.
There were also million-dollar antiques and some squid.
I’ll never forget any of it.
These Giant Hyperrealistic Paintings Will Absolutely Floor You
KIMBERLY HOLMES SEPTEMBER 19, 2013 2
To say Eloy Morales is an extremely gifted artist is an understatement. Based in Madrid, Spain, he has been refining his craft since 1995. Possibly one of the best photorealistic painters in the world, the depth and detail of his work is astounding; not only are his paintings photographic in quality, they possess a kind of life to them.
Morales uses himself, family and friends as subject matter. He does this so that he is able to better develop the psychological aspects within his paintings. “I want to show how the person is feeling in that moment… this is the most important thing for me”.
But how does he create such incredibly detailed and realistic artworks? The secret, it seems, is more to do with blending and layering, rather than focusing on the details…
Many people think that my work is based on details, but it is not that way… for me the secret is in the correct valuation of tones… tonal transition must be smooth to avoid abrupt cuts.
Scroll down to check out some of his work… images so real it’s hard to believe they’re paintings.
Unveiled Obscurity, 2013. Mixed media assemblage. 32″ x 46″ x 12″.
Unveiled Obscurity, detail.
Neo-Hellenism, 2013. Mixed media assemblage. 37″ x 35″ x 11″.
Intelligent Redesign, 2013. Mixed media assemblage. 40″ x 50″ x 12″.
Intelligent Redesign, detail.
Expulsion, 2013. Mixed media assemblage. 24″ x 32″ x 9″.
Der Ubermensch of the Post-Post World Calamity Variety, 2013. Mixed media assemblage. 54″ x 48″ x 16″.
This week Kansas-based artist Kris Kuksi (previously) opened his fourth solo show, Revival, at Joshua Liner Gallery. Kuksi continues his use of ornate assemblage to create wildly complex sculptures that comment on history, life, death, and spiritual conflict. In the words of director Guillermo del Toro:
“A postindustrial Rococo master, Kris Kuksi obsessively arranges characters and architecture with an exquisite sense of drama. Instead of stones and shells he uses screaming plastic soldiers, miniature engine blocks, towering spires and assorted debris to form his landscapes. The political, spiritual, and material conflict within these shrines is enacted under the calm gaze of remote deities and august statuary. Kuksi manages to evoke, at once, a sanctum and a mausoleum for our suffocated spirit.
Revival will be on view through January 18, 2014 and you can see many more pieces from the exhibition in this gallery
In 2009, the British Council invited Olivia Arthur to Jeddah, Saudi Arabia, to teach a two-week photography workshop for women. She agreed with the hope that she would also have the chance to make some work of her own. Her photos from that time, as well as two subsequent trips, are collected in her book, Jeddah Diary, published by Fishbar. “I wanted to make a series that would open up some of this strange world to people who don’t know about it,” Arthur said via email.
But being a photographer in an ultraconservative country with strict rules on what women can and can’t do could be frustrating, Arthur found. Arthur was once berated in the street by a woman whose photo she hadn’t even been taking. And it was even harder for the students in her class. “They wouldn’t all be allowed out by their families to go and shoot as they wanted, but most of them managed to overcome this. One girl took her husband along on her shoots after he finished work,” she said. Arthur said the issue of people being generally suspicious about photography in Saudi was also an issue: One woman was banned from the workshop for taking pictures of her female cousin, and another was arrested for taking pictures out in public.
Arthur said many foreigners who have lived in the country for years are never invited into a Saudi home. Teaching her workshop, however, earned Arthur friends and ultimately got her behind closed doors. But that was only the first step. Arthur then had to find a way to take photos without upsetting her subjects for violating their sense of modesty. In Saudi Arabia, women are required by law to wear long black abayas and head coverings in public, and some of her subjects did not feel comfortable being photographed without one, especially with their faces visible. Sometimes, that meant watching many amazing scenes unfold without picking up her camera. Other times, it meant getting creative to work around social boundaries: capturing only a woman’s legs peeking from behind a wall, for instance, or rephotographing some of her prints with a flash to obscure a face.
“In the beginning it was frustrating. I thought I had all these pictures that I wouldn’t be able to use, and it took me a really long time to figure out how to use them. But in the end I think it helps the work. It represents the strangeness, the facelessness of so much of life there,” she said.
Although Arthur certainly experienced the restrictive side of Saudi life—where women aren’t allowed to drive and must seek permission from a male guardian to do the most basic things, like attend school or travel—she said she also experienced pockets of a more liberal lifestyle, one in which girlfriends and boyfriends existed and women went to parties in compounds or private beach houses. In fact, Arthur said, many of her students didn’t see their lives as negative or oppressed. “They were often very defensive, saying, ‘We have our freedoms. We do what we like.’ They were almost entirely from middle to upper-middle class families. They mostly didn’t have to worry about money or work at all,” she said.
Arthur’s students often surprised her. After Arthur’s repeated encouragement, one of her least experienced students went to take pictures of Indian workers. One day, the police picked her up, and her father had to come to get her. “I was amazed when the next day she went back because there was a particular picture she wanted,” Arthur said. “They do lead very sheltered lives, but some of the women are quite tough despite it.”
To find out more about Arthur’s work or to order a copy of her book, Jeddah Dairy,visit her website.
‘I got a bit carried away’: Sheep farmer spent 11 years building elaborate Hobbit House by hand – then abandoned it when a new quarry disturbed his peace
- Farmer and stained glass artist Colin Stokes, 68, bought 10 acres of land near Chedglow, Wiltshire in the 1980s
- Collected stones left on land before starting work on a hay store using dry stone walling techniques
- Mr Stokes then spent 11 years creating magical two-storey property and said today, ‘I just got a bit carried away.’
- Includes dovecots, several turrets and a selection of hand-made stained glass windows created by the artist
- Mr Stoke, who now farms in Scotland, sold land where the property is built in 2000 when a quarry was built nearby
PUBLISHED: 06:35 EST, 8 November 2013 | UPDATED: 11:54 EST, 11 November 2013
These pictures show an enchanting ’hobbit house’, complete with stained glass windows, dovecotes and turrets, built in the middle of the Wiltshire countryside.
The imaginative property was built entirely by hand by artist and farmer Colin Stokes, 68, who today said he originally planned to build a rectangular hay store barn – but ‘got a bit carried away’.
Mr Stokes first bought the land in the 1980s with compensation money he received following an accident.
He lived in a cottage 400 yards away and farmed sheep on the land in Chedglow, Wiltshire and decided he needed a place to store hay and other supplies.
Mr Stokes began building a rectangular barn by using traditional dry-stone walling techniques before securing the walls with concrete.
But rather than stopping at four walls, the building – which took him 11 years to complete – began to grow until it eventually became the unusual build it is today.
Mr Stokes, who now farms sheep, poultry and angora rabbits near to Moffat, Scotland, said: ‘I bought some land, around 10 acres, in the 1980s when I got some money following an accident.
‘There was a lot of stone lying around in the fields. I collected it up and used it to build the barn.
‘I just did it bit by bit. I started small – laying all the stones up and pouring concrete down the back to secure it and it just continued to grow.
‘I think I just got a bit carried away really.
‘Rather than a modest barn, I started building turrets and dovecots – which were inhabited by lots of birds, including one owl that lived there the whole time I owned the land.
Architecture: The build features several arches, left, plus tens of hand made windows and turrets, right, all constructed by the artist – who farmed sheep on the land
Enchanting: Through one of the entrances to the barn, left, is a spiral staircase which leads to the top of one of the dovecotes. There is also some detailed stained glass, right, that depicts two autumnal scenes including a badger on the left and a bird flying above the building on the right
‘I also had a room up the top where I would sleep during lambing season.
‘I didn’t draw any plans before hand – it just grew organically. I took inspiration from buildings that I had seen during my life that looked like they were part of their surroundings. I like buildings to look like they belong.’
The barn is split into several different rooms with varying levels. One section – called ‘The Hermitage’ by Mr Stokes – has several stained glass windows, all hand-made by Mr Stokes.
‘The windows represent spring, summer, autumn and winter as well as earth, air, fire and water, and are just another nod to the natural world,’ Mr Stokes said.
However, having spent over a decade on his magical building, Mr Stokes – who said he doesn’t know how the build first became known as the Hobbit House – sold up when a quarry opened nearby.
Mr Stokes said: ‘I don’t like it when people call it the Hobbit House. I never made it to look like that. I just call it my barn. There are also apparently rumours that I had a dispute with the planning office – which is utter nonsense. I moved on because of a quarry.
‘They found Forest Marble – which is in high demand – near to my land. I knew there would be lots of lorries trundling in and out constantly so I decided to give it all up.
‘When I first sold up, I had dreams about it every night. A woman spends nine months carrying a child, but I spent 11 years on the barn. I felt lost without it.
‘Although it was a really difficult decision, know I made the right choice. I’ve moved on and have done other things.
Mr Stokes added that he had only been back to the building once since he left in 2000.
Interior: The barn includes a place for Mr Stokes to sleep during lambing season, pictured left, and several examples of the artist’s stained glass windows, right
The ‘Hobbit House’ has now become a frequent stop for photographers and explorers looking to capture some of the building’s magic.
Manchester photographer Dan Circa, 28, took this set of images after he decided to track down the quirky construction.
He said: ‘Normally buildings like this are built for novelty, but once upon a time this was actually someone’s home.’
‘It felt like I was in a movie like Lord of the Rings or The Hobbit, and I half expected a tiny person to ask me what I was doing in there. It has such a magical feel about it.”
‘This little hobbit house was amazingly hand built by Colin many years ago his treasured animals.’
‘He built it all on his own, stone by stone and the stained glass windows were all hand painted.
‘There was not much inside the building, just an old table and benches made from logs, but it had an enchanting feel to it.
‘I really enjoy documenting old buildings, and being able to grab a part of history while it’s still there.’
Read more: http://www.dailymail.co.uk/news/article-2492370/I-got-bit-carried-away-Sheep-farmer-spent-11-years-building-elaborate-Hobbit-House-hand–abandoned-new-quarry-disturbed-peace.html#ixzz2mKzRm9Nw
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My husband came from Canada where Hash was readily available-no such luck when he moved to the U.S. We missed it so much we would take regular trips across the b—er to acquire it!
I WENT ON A HASH-MAKING HOLIDAY IN NORTHERN MOROCCO
By James Tennent
A bowl containing beaten kif.
Until the Spanish occupation of northern Morocco in the 1920s, Chefchaouen was basically a closed city. In fact, when troops first arrived, they found Jews in the area speaking a medieval form of Castilian Spanish that hadn’t been heard on the Iberian peninsula for around 400 years, and a population that was more opposed to Christianity than reddit’s entire swamp of militant keyboard atheists.
But thanks to the Spanish valiantly wiping out decades of cultural heritage, the city has now opened up to become a popular tourist spot. Backpackers flock in from around the world to take selfies next to its beautiful blue-washed architecture, eat its famous regional goat cheese, and—more than anything else—take advantage of the thriving local hash industry.
Morocco is said to produce nearly half of the world’s hashish, and it’s estimated that around 800,000 Moroccans work in the industry—mostly in the Rif, the mountainous region of northern Morocco where Chefchaouen is located. The debate about decriminalizing that industry has been bubbling away in parliament for a while, with a member of the opposition saying in August that his party hopes to legalize cannabis production within the next three years.
Its illegal status is no small problem in a region where so many people depend on it for their primary source of income. Quoted in the Independent, a spokesman for Morocco’s Istiqlal Party said, “There are villages in the Rif where men are nowhere to be found because they are either in jail or wanted by the police.” The same argument currently sweeping through the US and UK is being made in Morocco by pro-legalization campaigners: that taxing production could save the country’s economy from its current deficit, save money on policing, and basically make everything easier for everyone involved.
With this in mind, I decided to visit Chefchaouen for myself to exist exclusively on goat’s cheese for a weekend and find the world’s best hash in its birthplace.
Weed we bought almost instantly and very easily when we arrived.
Turns out that last one isn’t too difficult. If you smoke weed and you can’t score in Chefchaouen, then you’re probably smoking far too much weed. Rifi Berbers—a Berber ethnic group who inhabit the Rif—accost you, smiling, at almost any time of day, offering you a bunch of stuff you might want: “Hash? Kif? Girls? Opium?” etc, etc. They will not take your first, second, or third “no” as any kind of legitimate answer.
I brought two friends along with me, one of whom was a Chefchaouen veteran. When we arrived, he called a friend he’d made on a previous trip and set up a tour around a hash farm for the next day. With everything in place, we headed to the hostel—Hotel Souika—which was full of all the cliches you’d expect in a utopia for hash smokers.
There were male backpackers wearing beards, female backpackers wearing beads, and the standard-issue stoner pilgrims wearing Berber fleeces waffling away about drugs, while on drugs, to anyone else who looked like they might be on drugs and was unfortunate enough to be within earshot. More unorthodox were the cooing Spanish and Japanese couple who started and ended every day with a huge joint and spent about half an hour each evening brushing their teeth in absolute darkness on the balcony.
Our first full day in Chefchaouen started as badly as any day in Chefchaouen can. Our guide picked us up at the hotel and we walked about a hundred metres, with him telling us how he was going to show us rooms packed with weed, before a man grabbed him by the shoulder and led him away. I turned around and caught my friend’s eye. “Start walking,” he said, “he’s getting arrested.” I heard handcuffs clink behind me and started ambling forward, trying, very badly, to look as if I had nothing to do with him. I felt bad, yes, but I really wasn’t prepared to be thrown in a cell for the day for the crime of walking down a road next to a man I’d just met.
Back at the hostel, the receptionist told us that wouldn’t have been an issue. “It was the tourism police, and he isn’t a registered tour guide,” she told us. “They arrest him every day—it’s no problem for you. They will question him and he will say, ‘I don’t have a job. Do you want me to steal?’”
Our perma-arrested guide isn’t alone in his jobless plight. Morocco’s unemployment rate is around 9 percent, but rises to 30 percent for those under the age of 34. That number wouldn’t be nearly as high if the now clandestine hash trade was legalized, forcing farmers to keep records of the estimated 800,000 industry employees and potentially create more jobs as the market grows.
The view of Chefchaouen from the Spanish mosque in the hills.
After the hostel’s receptionist explained the fate of our first tour guide, another man approached us, told us he’d seen what had happened and offered to show us around instead. We followed him through the mountains for a good 40 minutes, taking a break at a Spanish mosque and admiring the pastel, blue-washed city below us.
Eventually, we reached a farmhouse at the top of a small hamlet in the hills. We were led to a courtyard and given chairs to sit on while chickens pecked around our feet, making noises that didn’t sound like they should be coming from chickens. “They eat the marijuana seeds,” our guide told us. “They go crazy.”
Kif being beaten into hash.
One of the workers brought a large bag of kif—which is the THC crystals once they’ve been separated from the marijuana buds—into the courtyard, which had apparently been harvested the month before. A bowl was covered with tights, the kif was placed on top of that, covered with another fabric then beaten so a fine powder was left in the bowl. The powder was collected in a little baggie, scrunched together and rubbed against a trouser leg; then the hash was ready. The farmer told us it takes him around 25 minutes to get through a kilo of kif, from which he can make around 10 grams of hash.
We were told that what we wouldd see being made would be in the European market next year, but I was also told by other Moroccans that Chefchaouen’s hash is mainly consumed by the domestic market.
The hash we made at the farmhouse.
The farm we visited was a family-run business; as we were making the hash a little girl ran around among the chickens, smiling and laughing. It was kind of a weird sight, but testament to the fact that the farm has been owned and operated by the family living there for over 40 years. Chefchaouen’s economy revolves around tourism and hash, and a good deal of the tourism is either because of the hash or—among the older tourists I met, at least—because the city has been declared a World Heritage Site by UNESCO. The legalization and legitimization of a workforce as large as the hash industry’s could not only help Morocco’s national and local economies, but could help to better integrate the Rif region, known for its Berber tribalism and antagonism towards the central Moroccan government.
It’s an industry that already employs close to a million people, has reportedly been in operation in Morocco since the 15th century, and one that members of the police force have been accusedof being a part of in the past. Everything points to decriminalization making sense, but there are clearly still obstacles to overcome.
Cannabis legalization in Morocco would be a first for any Arab country. The main question is whether a conservative society—though comparably tolerant, for the region—would tolerate full legalization, and then how the European Union would react, considering Morocco has already been flooding the continent with shipping freights packed with hash for the past half a century.
International pressures considered, it seems unlikely for now—but the potential benefits for Morocco itself is plain to see.
Follow James on Twitter: @duckytennent
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WATCH – High Country
Breathtaking images capture river of fog filling the Grand Canyon in weather phenomenon that happens just once every DECADE
- Friday morning, the gorges of the Grand Canyon were filled with fog in a rare temperature inversion
- A temperature inversion happens when hot air high up acts as a seal to keep cold air pollution and fog trapped below
- While inversions happen once or twice a year at the Grand Canyon, a full inversion is more unusual, happening closer to every 10 years
PUBLISHED: 14:22 EST, 30 November 2013 | UPDATED: 06:47 EST, 1 December 20
Those who decided to skip Black Friday shopping in favor of a trip to the Grand Canyon yesterday got to see the natural wonder from an extraordinary perspective.
Due to a rare weather phenomenon, the canyon’s famous gorges were filled with a river of fog.
According to the national park’s Facebook page, the fog was caused by something called a ‘temperature inversion’. This happens when warm air acts as a lid to seal cool air near the ground. That means all pollution and fog is trapped and unable to rise.
SCROLL DOWN FOR VIDEO
Ranger Erin Whittaker told MailOnline that temperature inversions happen on average once or twice a year, but never producing such a picturesque full inversion.
Most of the inversions only fill up parts of the canyon, or occur on cloudy days. Yesterday’s inversion happened against a perfectly clear blue sky, enveloping the entire canyon – an event Ranger Whittaker says happens about every 10 years.
Ranger Whittaker says some of the tourists visiting the canyon on the busy holiday weekend were disappointed they couldn’t see the Colorado River below, and just figured it was a normal weather pattern.
But she and the other rangers tried to explain just how lucky they were to see the canyon in a perfect inversion.
Once word spread, locals turned out to photograph the unusual view.
‘Word spread like wildfire and most ran to the rim to photograph it. What a fantastic treat for all!’ Ranger Whittaker wrote.
Ranger Whittaker described it as being like a ‘really awesome beach day’ with all the locals leaving their posts to head to the beach to enjoy themselves.
Read more: http://www.dailymail.co.uk/news/article-2516098/Photos-breathtaking-river-fog-Grand-Canyon-ONCE-IN-A-DECADE-weather-phenomenon.html#ixzz2mF0OrZQu
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Street artist RONE recently completed work on this great five-story mural on building facade at Nollendorfplatz in Berlin. The artist is known for straddling the line between beauty and decay by creating large-scale depictions of idealized portraits that appear perfectly composed at a distance, but a closer inspection reveals signs of deterioration and imperfection. You can see more photos of this piece over on photographer Henrik Haven’sTumblr and see more work by RONE here. All photos courtesy Henrik Haven.
Currently in the last stages of construction after nearly 7 years of development, the Kelpies are a pair of gargantuan horse heads by public artist Andy Scott that now tower over the Forth & Clyde canal in Falkirk, Scotland. The sculptures measure some 30 meters tall (99 ft.) and are meant as a monument to the horse-powered heritage of Scotland. According to Wikipedia:
The Kelpies name reflected the mythological transforming beasts possessing the strength and endurance of 10 horses; a quality that is analogous with the transformational change and endurance of Scotland’s inland waterways. The Kelpies represent the lineage of the heavy horse of Scottish industry and economy, pulling the wagons, ploughs, barges and coalships that shaped the geographical layout of the Falkirk area.
The sculptures were modeled on two actual Clydesdales from Glasgow City and were constructed from structural steel with a stainless steel cladding, creating structures that you will soon be able to stand inside of. Although construction is nearly complete, the Kelpies will not open to visitors until April 2014.
Scott has created a number of smaller ‘Kelpies’ sculptures including a pair here in Chicago and at Purdue University. Photos above courtesy Kit Downey, Tracey Russell, Barry Ferguson, and Trixta Photography.