The Way This Artist Organizes Objects Into Perfect Arrangements Is Incredibly Satisfying

Leaves, fruits, and even butterflies come together to form unexpectedly beautiful arrangements in Kristen Meyer‘s art. The Connecticut-based prop stylist and designer specializes in geometric flat lays containing dozens of different objects. They are laid out in evenly spaced patterns until they form stunning designs that look computer-made.

The choice of materials in Meyer’s flat lays varies as much as the final shape. Her work includes everything from pencils and sticky notes to scraps of trash. However, the way she makes them appealing is always the same. After collecting the chosen materials, she modifies them as necessary so she can fit them into planned patterns. This might require cutting items with scissors or knives as well as carefully tearing the edges. Regardless of the method, Meyer makes sure that the alterations fit seamlessly with the design she has in mind. For instance, cuts of watermelon are carved into circles and half-circles and placed accordingly on a pastel-colored background.

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In Fantastical Laser-Cut Plywood Reliefs, Gabriel Schama Revels in Elaborate Details

“DJ Booth” Image © Gabriel Schama

Through a process of meticulous design, laser-cutting, and layering, Gabriel Schama creates incredibly detailed reliefs from thin plywood (previously). His work has focused on symmetrical, mandala-like forms with countless undulating patterns, and in recent years, he’s begun to explore more narrative themes, placing figures and objects into fantastical compositions. In new works, otherworldly birds careen in a flurry of feathers, a bottle of potion roils, and a hanging unit on a wall doubles as a holster for a sword.

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Tatiane Freitas’ Sculptures Complete Missing Parts Of Broken Chairs With Translucent Acrylic

My Old New Chair 2, 2016


Tatiane Freitas completes broken wooden chairs with translucent acrylic to create what may be deemed as kintsugi sculptures. Inside Guy Hepner Editions gallery in New York City, Tatiane Freitas sits or kneels on the floor for days and nights. She is cutting up sheets of wax paper with pencil linings on them with unwavering focus, perfecting the art of slicing with a pair of scissors. These blueprints, once drawings, have become the symmetrical grids that uniformly line up her acrylic chair sculptures for her exhibition.

‘A Hole Which Remains’ seems a fitting name for the show which runs until August 31st, 2023. These tiny chairs, which look like they can be pocketed when no one is looking or stashed in a bag like grocery items, hang on the walls of Guy Hepner Editions, suspended to create a whimsical visual play against the white backdrop. From afar, they seem incomplete. Up close, the tiny chairs that Tatiane Freitas worked on come to a full circle as she sculpts and molds acrylic into the missing pieces of the seats.

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A Search for Solace at Innisfree Gardens

Courtesy of Innisfree Gardens

Art itself is often closely associated with some form of solace or peace. Though not all art exists to establish in oneself an inner tranquility, many find that it has a soothing or therapeutic effect that seems to translate all human boundaries. W.B. Yeats, an Irish poet from the late 19th and early 21st centuries, pondered this solace-seeking. He, too, wanted peace and dreamed of an escape, a place far removed from the bustle of everyday life.

He called it Innisfree, an island in the middle of a lake that he immortalized in an 1888 poem (below). “And I shall have some peace there,” he pondered, imagining nights spent in the center of a pool of placid water, the midnight aglow around him.

Yeats’ yearning for Innisfree was shared by a couple from New York State by the names of Walter and Marion Beck. In the 1920s, they settled in the town of Millbrook and began planning their own private Innisfree nestled in the midst of their country estate.

Walter was himself an accomplished painter and former professor at both the Art Institute of Cincinnati and the Pratt Institute in New York. At one point in his solo career, while experimenting with the use of new materials, he developed a method of tempera painting that used starch as its base.

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Not So Dark After All: Greek Designs from the Dark Ages

Pottery in the Greek dark ages: Geometric Amphora, 850 BCE, Agora Museum, Athens, Greece.

Despite lasting only a century (c. 1100-1000 BCE), the dark ages in Greece were an era of material poverty, cultural isolation, and artistic decline. People forgot or lost all use for reading, writing, and figurative art. Furthermore, the anthropological record shows signs of extreme famine and population decline throughout the period. Modern scholars often see the Greek dark ages as a time of stagnation, if not regression. However, the abstract designs that rose out of the period are surprisingly intricate, elegant, and beautiful.

In the mid-12th century BCE, the grand palaces and sprawling kingdoms that had defined life in the Mediterranean began to deteriorate. Perhaps traveling marauders crippled the region’s trade routes, plagues decreased their populations, or natural disasters wreaked havoc on their farmlands. No one really knows what catalyst caused the downfall of these once-powerful kingdoms. Only a few decades after the start of their decay, nearly all of Greece’s centralized governments had fallen apart. The same regions that only a few years prior had been rich with precious metals, artistic talent, and vast trade routes transformed into the small, warring tribes that characterized the Greek dark ages.

Earlier Greek artists had almost always used art as means of replicating the natural world, often portraying scenes, objects, and people from the environments around them. Art in the dark ages completely departs from that tradition, marking a profound shift in both the artwork’s basic appearance and the fundamental purpose of the designs. The art that followed in the footsteps of dark age patterns continued the trend of extreme abstraction for generations, slowly increasing in complexity until it developed into the elaborate, sophisticated works that appeared at the end of the geometric era. This article will examine two of the designs that came out of the dark ages and then explore how these abstract designs evolved in the following two centuries.

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Ludwig Godefroy Draws from Mayan Temples to Design Brutalist ‘Casa Dzul’ In Mérida


In Mérida, a Mexican city known for its limestone colonial architecture and a rich Mayan legacy, architect Ludwig Godefroy designs this Casa Dzul. Paying homage to the region’s ancient temples, the structure takes shape with a modern, brutalist style which works to capture the essence of Mayan heritage with its staggered, exposed concrete forms. Thus, it evokes a temple ruin emerging from the lush Yucatán jungle. This home is available to rent through Airbnb, offering travelers a chance to experience the historic design influence translated through a contemporary lens.


The team led by Ludwig Godefroy sites its Casa Dzul in Mérida, which is nicknamed ‘The White City’ for its immaculately white-washed buildings, many of which use stone sourced directly from Mayan ruins. With its colonial urban fabric, the Yucatán capital sets the stage for a new architecture that stands in playful opposition to its surroundings. Casa Dzul gracefully disrupts the city’s traditional aesthetic by embracing the allure of cast concrete and harmoniously enveloping itself in lush greenery. Godefroy’s vision weaves together the villa’s concrete volumes and vibrant vegetation, an artistic reinterpretation of Mérida’s famed limestone structures and Mayan heritage.

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Cluster of red volumes woven with green pockets compose coyote arquitectura’s tulum home

small gardens encourage residents to nurture plant species and grow their own food

In Tulum, Mexico, TULIX by Coyote Arquitectura is a home that seamlessly integrates indoor and outdoor spaces to redefine the concept of urban living. The space is defined by the architects’ playful configuration of red volumes which project an interplay of shadows into interior spaces and onto neighboring structures. To maintain its unique identity, the complex features an exterior finish in a distinctive reddish paste. This further eliminates the need for frequent maintenance and modifications that might alter the visual appeal of the project, reducing long-term costs and ensuring the project’s integrity over time. Meanwhile within, various external and internal microclimates with lush islands of vegetation blur the boundaries between architecture and nature and reinforce an eco-conscious approach.

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