A master sculptor has spent five weeks carving a life-sized Willy Wonka – using more than 100kg of chocolate.
Giant Willy Wonka sculpture is made entirely out of chocolate
Sunshine returns to St Petersburg: Claudine Doury’s best photograph
It was 21 June 2012, the longest day of the year, and around a million people were in St Petersburg for the White Nights festival. This annual city-wide event celebrates the brief period when skies reach twilight but never darkness. In most of western Europe – including France, where I’m from – pagan sun celebrations have largely been forgotten, although there are gatherings at Stonehenge in Britain and the midsummer celebrations in Sweden. However, in the northern regions of eastern Europe, the rituals remain, steeped in centuries of tradition. In these places, there is little-to-no sun for many months of the year. So when it comes, everyone worships it.
This image is part of Solstice, an ongoing body of work documenting pagan summer rituals. In over a decade, I’ve travelled through Russia, Belarus, Lithuania, Latvia and Poland studying how different communities celebrate the summer solstice, marking the return of light after so many months in near-complete darkness.
I had visited Russia many times before, but this was my first time at White Nights. That evening, the streets of St Petersburg were filled with young people, who had travelled from all over the suburbs to mark the end of their school year. There were girls standing in the middle of the street, eyes closed, basking in the light with their arms outstretched. Others were singing, dancing and drinking champagne.
At the time, I was reading a Fyodor Dostoevsky short story called White Nights, a powerful tale about a boy and girl who fall in love by the canal in St Petersburg. I’ve always been drawn to photographing teenagers – people at a transitory period in human life. I think of those years as some of the most important of my own. Just like the Dostoevsky story, these teenagers were falling in love and building friendships. I was moved by the small moments I witnessed between them, how they were making their own rituals, starting their new lives.
At around 9pm, I happened upon a cafe that was a few steps below street level, not quite underground, but enough to be cavernously dark. Inside, there was a gathering of teenage girls, lit up by beautiful streams of sun bursting through the wooden window frames. I noticed one girl sitting a little apart from the group, near the entrance. Her face was flooded by the light. What was she doing? Was she expecting friends? Was she sad? She didn’t move for a long time – that’s what caught my attention. I observed the girl for a while, but I took the photograph quickly – it wasn’t staged at all. I knew nothing about her except that, for me at that precise moment, she represented the essence of the solstice: the communion of time and Earth’s cycles, whether we are in the countryside or the city.
Here we have a young contemporary woman in a big modern city celebrating a centuries-old tradition. She represents everything I want to communicate about the power of the solstice.
I didn’t take any more photographs of the girl. I like keeping her face hidden – it’s the same in every other photograph of women and girls in this series. This leaves room for mystery – but, more importantly, it means the images speak about all women and our relationships to the sun, as well as to one another. I’ve observed many pagan festivals across eastern Europe, and noticed that there is always a strong focus on women and fertility. The Kupala Nights, a major folk festival that takes place across the Russian, Belarusian and Ukrainian countryside, originates from the worship of Kupalo, the Slavic god of love and fertility.
Initially, I was interested in summer solstice traditions but, increasingly, the project has been for myself, putting me more in touch with the light. As photographers, light is everything. Yet in our modern lives, we perhaps don’t notice it enough. My work is about the passage of time: the White Nights could be the metaphor for human life, its brevity and its fragility. I’ll return to the north again next June. I need to go – just to feel that extraordinary light.
Claudine Doury
Born: Blois, France, 1959
Trained: Self-taught
Influences: Robert Frank, Sally Mann, Andrei Tarkovsky
High point: “In 1996, I took my two-year-old to northern Siberia for several months to shoot my first photo project, People of Siberia. I proved that it was possible to be a young mother and do the work I love.”
Low point: “Probably from that same trip. Sometimes, it was very challenging to travel, work and raise a child at the same time.”
Top tip: “Trust yourself and keep moving forward.”
Is the Infinite Machine P1 the Tesla Cybertruck of Electric Scooters?
The machined minimalism of the Tesla Cybertruck is possibly the most divisive design in years, sporting angles and a finish that makes the DMC Delorean almost seem Isetta-ish. Wherever you fall in opinion, there’s no debate the design stirred up a great deal of hype and enthusiasm for its stark futurism, something the Infinite Machine P1 electric scooter’s sharply inspired two-wheeled transport hopes to reproduce.
Let’s begin with a subjective take about the P1’s design: compared to anxiety-inducing amalgamation of stainless-steel angled panels sheathing the Tesla Cybertruck, the P1’s smaller scale presents a more cohesive profile from all angles (at least in these press photos and videos).
With fewer surfaces to align than the unforgiving precision required of a truck-sized vehicle, the electric scooter’s aluminum and steel mono-chassis and front fascia give the appearance of a vectorized 80s Honda scooter. And that in our book is not a bad thing.
A pair of 72-volt 30-aH batteries powers the P1’s 6-kilowatt hub motor, with three speed modes accessible using a handlebar switch. Borrowing again from Tesla, the P1 also includes a red Turbo button to push it to its maximum 55 mph capabilities.
Cribbing from its 4-wheeled counterparts, the P1 forgoes a traditional instrument panel and is instead equipped with what almost appears likes an Apple iPad mini in landscape mode adhered to the handlebar dash. The all-digital display supports Wireless CarPlay – a first in its class, with a built-in speaker – and offers riders a clean and large GUI when accessing Maps/Google Maps (or their Spotify playlist).
On the topic of speakers, the P1 can be customized with an attachable, battery-powered speaker system, to transform it into a mobile boombox.
An optional rear trailer system offers extra hauling capacity.
The P1 is built around app integration, allowing remote locking/unlocking, theft prevention, tracking, and the all important ability to check on remaining battery power.
Two removable batteries power the P1 for up to 60 miles of range, with the option to add two more batteries for even more power.
The P1’s seat lifts to offer storage underneath, alongside other storage opportunities below the steering cluster, and between a rider’s legs, with the option to add additional side-saddle cargo modules.
With a top speed of 55 mph and estimated range of 60 miles per charge, the Infinite Machine P1 – available in Silver or Black – has its aspirations to appeal to urban commuters, bringing riders from point A to point B daily with the occasional C or D entering the equation without any range anxiety. At $10,000, Infinite Machine is putting out a pricey proposition, and you’ll need a Class M driver’s license to access Performance mode speeds past the standard 35mph. But you’ll be guaranteed plenty of attention riding upon this knife-like moped alongside the fact only 1,000 First Editions will be made to launch.
How AI is fooling the photography world
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It takes a surprising amount of creativity.
“Promptography” is what Berlin-based artist Boris Eldagsen calls his creative process. He inputs highly specific and deliberate text prompts into generative AI programs like DALL-E or Midjourney and tweaks their outputs repeatedly to create thought-provoking photographs — or at least, what look like photographs. His work is so convincing that he fooled Sony into giving him a photography award, only to decline the honor and reveal that his work was made using AI.
In this episode of , senior video producer Becca Farsace takes a flight to Berlin, Germany. There, she attends Eldagsen’s gallery opening and learns what it takes to be a promptographer.
Watch to find out if Becca could answer The Verge’s favorite question of the year: what is a photo? Bonus points if you can guess which pancakes made it into the episode.
William Darell’s kinetic sculptures abstract nature’s essence through mechanical forms
A representation of art in motion, ‘kinetic sculptures’ captivate onlookers with their lively, flowing motions. These captivating works of art combine mechanical engineering and creative vision to harness the power of physics. Whether propelled by motors, wind, or other external forces, these artworks come to life, converting inanimate shapes into a moving symphony. In addition to showcasing the artist’s inventiveness, kinetic sculptures encourage viewers to consider the relationship between science, art, and the constantly shifting environment we live in.
Inspired by the fluidity of evolution, London -based artist William Darell creates mechanically abstracted visions of nature. The product designer brings to life kinetic sculptures that produce hypnotic motions such as kaleidoscopic flowers, writhing worms, and ethereal underwater creatures. His collection comprises 3d printed sculptural art that stays in motion owing to gears connected to a central motor, their motion remains on a loop, repeating the same expression endlessly.
Elaborating on the inspiration behind his work Darell relays, “Every life form is shaped in relation to its environment. This is not only true for the external anatomies of organisms but also for mental dispositions. In many situations the physical shapes the mental and vice versa. This can be seen in the symbioses of Flowers and their pollinators. The bee’s brain evolved in coordination with the physical form of the flower. Through our survival over the aeons, we have also been subject to this type of mental shaping. There are reasons why a slug looks gross and an apple looks appealing and this visual language feeds into the environment we create for ourselves. The bright packaging of a Skittles packet is a perversion of the fruit it emulates. We are surrounded by man-made objects echoing these psychological commonalities.”
Inspired by the exquisite form of flowers, the sculptural artist explores the intricate details of their anatomy in his latest works. With meticulous craftsmanship, he mechanically animates these floral forms into kaleidoscopic vortexes. His goal is to highlight the intrinsic beauty of flowers through product design by showcasing their compelling essence through mechanical animation. “Lately flowers have been a big part of my work. The beauty we feel for them is undeniable and yet they serve no obvious function. I speculate that like the pollinators we have also benefited from the way flowers advertise themselves. The flower signifies to our ape ancestors that this tree holds promise, a symbol of fruit to come. Hope locked into a hypnotic arrangement of petals and fragrance” shares Darell.
Darell has a way with his dynamic art that speaks to all ages and invites everyone to embrace its beauty, no matter where they are in life. Its intrinsic accessibility is what makes it so appealing; it provides a visual and emotional experience that appeals to people of all ages and backgrounds. “Although there is a depth to the subject matter of the artwork it’s important to me that this is not a requirement for it to be enjoyed. The basal responses it evokes are the central focus of the work. My work can be enjoyed by anyone at any stage in their life, mentally accessible to everyone who sees it,” he shares.
Through his art, Darell not only captures the essence of evolution’s influence on form and perception but also invites contemplation on the interplay between our surroundings and our psyche. His ability to blend the delicate beauty of flowers and the organic world with mechanical sophistication produces an immersive experience for viewers of all ages. He establishes a harmony between art, science, and nature through his sculptures embodying an accessible yet profound beauty, a testament to the enduring power of art to enchant and inspire us all.
This Sensual Photo Book Reimagines Girly Tropes
Photographer Lean Lui discusses her poetic new photo book, which embraces feminine-coded motifs like bows and white socks
December 06, 2023
Cloud Swing Is Good Design Providing Accessible Play for All
Cloud Swing is monumental in many ways, but none more so than how the interactive public installation encourages accessibility and play for all. Two years in the making, Isometric Studio set out to prove that accommodating the disabled community in design is a must – not an afterthought. It is good design, not a barrier to achieving it. Cloud Swing includes two wheelchair accessible swings and three plank swings that are suspended from an electric blue, cloud-shaped curved steel pipe canopy on tripod legs. The swings face each other, creating an inclusive gathering space for community and visibility for all.
[embedded content]After multiple proposed locations, accessibility workshops, architectural iterations, and safety tests, the first-of-its-kind cloud-shaped, accessible swing set has been installed at Grounds for Sculpture in Hamilton, New Jersey. Nestled between trees, it’s a space for community gathering, rest, and imagination for all to enjoy.
Isometric Studio also had help from Trina Hazell, an activist and Ms. Wheelchair New York 2018. She began the journey during the design development phase of the project, offering advice on safety and comfort. Hazell was also the first person to test the accessible swing and to ride it at Grounds for Sculpture!
Trina Hazell
Trina Hazell
Cloud Swing was developed with support from the Wellcome Trust Mindscapes program and INCLUDEnyc, the most prominent New York City non-profit dedicated to equity and access for young people with disabilities. The project was engineered and fabricated by Serett Metalworks and installed by Oliver Construction. The installation is the perfect example of how public spaces should celebrate inclusion.
To learn more about Cloud Swing, visit isometricstudio.com.
Cycling Victoria photographer a sensation for sharing urban jewels
Hailing from a time and place where kids were relegated to the outdoors during daylight hours, Angela Gabaldon still thrives outdoors and likes to share her perspective.
Gabaldon is The Artful Peddler – popular online for her Urban Jewels collection of images.
Jewels is her latest two-wheeled crush in a lifelong affair with bikes.
The Victoria photographer, yogi and avid cyclist has been a road rider, a racer, a spin instructor, a group rider and a mountain biker.
She’s a lifelong bike commuter who moved to Victoria six years ago.
“People joked I would move to Victoria and get a cruiser with flowers in the basket,” she says with a laugh.
With an uncanny eye for the glimpses of beauty people might skip, for the last three years her cruiser named Jewels and its ever-evolving basket full of flowers have evolved into a colourful photography career.
The first image that really garnered online attention arose from a visit to Moss Rock Park.
She’d bought a funny little orange horn for Jewels and wanted to highlight it. She composed the image to include the horn, bike handles and empty basket against a stunning sunrise.
“I couldn’t believe the amount of people who responded,” Gabaldon said. “I really just started taking advantage of the things around me.”
READ ALSO: ‘Tuck in ponytails’ to avoid dangerous Greater Victoria owl encounters
The last few years she’s marketed photo cards and tote bags online, at markets and several local stores.
This year, she added calendars. Artbox Printing wanted to give the calendar realm a try, so the artist and printer took the leap together.
“I was afraid to print 50 … this is a time-sensitive thing,” Gabaldon said with a laugh.
Now at the prime time for calendar purchases, she’s printed 400 with no expectation of leftovers.
Her card sales support a link to her childhood in New Brunswick as well. Growing up with a single mom and an active lifestyle it’s hard to imagine her youth without sports, often sponsored by the local non-profits. A dollar from each card sold supports the Harbourside Rotary and St. Stephen Rotary near her childhood home.
“It’s small, but it feels good,” she said.
Her home is filled with baskets and flowers, nods to the work she and Jewels do on the daily. The larger impact is sharing the beauty of Victoria – from the Abkazi gardens to the nooks of Cook Street Village and alleyways of downtown.
“I’m so amazed at all the places I can get by bike and it costs nothing,” Gabaldon said. “Definitely Victoria gets a bad rap… there’s a lot to be wary of, but there’s lots of good stuff too.”
Find a list of retailers at theartfulpeddlar.com.
Ozbot captures World Athletics Photograph of the Year
Mattia Ozbot’s image of German decathlete Leo Neugebauer competing at the World Athletics Championships Budapest 23 has been selected as the World Athletics Photograph of the Year.
The third award announced as part of the World Athletics Awards 2023, the World Athletics Photograph of the Year shines a spotlight on some of the outstanding images captured by professional photographers.
Photograph of the Year finalist – Leo Neugebauer in the decathlon pole vault in Budapest (© Mattia Ozbot, World Athletics Photography Workshop)
From the 134 images that were submitted, a panel of judges – comprising Valerie Adams, Raquel Cavaco Nunes, Joel Marklund, Pascal Rondeau and Blanka Vlasic – narrowed the entries to 12 shortlisted images and three finalists before deciding on the winner.
Ozbot was surprised with the honour during an assignment to photograph trophies for the World Athletics Awards, which ended up including his own.
“I’m extremely surprised,” said Ozbot. “I knew the photograph was very special. It happened at a unique moment in time, but there were so many other amazing photographs by so many of my great colleagues. I’m very surprised and incredibly happy.”
[embedded content]Ozbot’s photograph captures Neugebauer in free fall after clearing a bar during the decathlon pole vault at the National Athletics Centre in Budapest.
“It was a peculiar moment, because on that day there was also the marathon (taking place) and I decided not to cover the marathon in order to get the chance of an infield bib during the morning session,” explained Ozbot. “It was the second to last day, and it was my chance to have a little more time on the track, and particularly the infield.
“The event was taking place around midday; the sun was high and when I saw the athlete celebrating through my lens, I thought there may be a good photo there. I was also quite lucky because I was there for 15 minutes and it happened right when I was there. So, I’m very happy with the photo and with the award.”
Ozbot is a freelance photographer based in Milan who specialises in sports photography and has a passion for capturing all the emotions that sport can bring. He attended the World Athletics Championships Budapest 23 as part of the inaugural World Athletics Photography Workshop.
Other winners already announced as part of the World Athletics Awards 2023 include Laurent Meuwly (Coaching Achievement Award) and Falilatou Tchanile-Salifou (Woman of the Year). Further announcements will be made in the coming days, ahead of the World Athletes of the Year and Rising Stars being revealed on Monday 11 December.
World Athletics
Hyundai Motor India Foundation’s ‘Art for Hope’ initiative returns with 3rd edition to support Indian artists
Hyundai Motor India Foundation (HMIF), the CSR arm of Hyundai Motor India Ltd. (HMIL) announced the 3rd edition of ‘Art for Hope’, a program to support Indian artists. The grant application is open to all Indian artists until 09th December 2023.
Over the past two editions, 60 grants have been awarded to artists across 20 states for executing their projects on environmental, social and community centric themes under ‘Art for Hope’ flagship. The public exhibitions have seen a footfall of over 5000 people cumulatively in New Delhi’s Bikaner House and Chennai’s InKo Centre.
Puneet Anand, AVP and Vertical Head – Corporate Affairs, Hyundai Motor India Ltd. said, “Hyundai Motor India has been a nurturer of creativity and innovation, and using art for making a meaningful change for future generations under Hyundai’s global CSV (Creating Shared Value) philosophy of ‘CONTINUE’. Through ‘Art for Hope’, Hyundai is not merely organizing an art program, it is investing in the hopes and dreams of aspiring artists, providing them with the resources and recognition they need to flourish.”
“This year, in addition to our existing grant program and in alignment with ‘Samarth’ initiative, we have introduced – ‘Ability for Dignity’ towards achieving the global vision of Progress for Humanity.
“A special grant for specially abled artists, where we will not just give them a grant but upskill them and provide them avenues for sustainable income generation. We are confident that this year too, we will be able to make a positive impact in the lives of deserving individuals and uncover the hidden talents across the nation,” Anand added.
‘Art for Hope 2024’ grant is open in Visual Art, Digital Arts, Performance Arts, Folk and Traditional Arts and Community Arts categories for individual artists and collectives. At the end of the grant an art festival showcasing the artworks and grant projects will be hosted in New Delhi.
A five-member jury shall select the final grantees on project concept, artists background and community impact of the projects.
The application is open for ‘Art for Hope 2024’ for art projects on environmental, social and community centric themes till 09thDecember 2023.
