Member 57
13 entries

Rebeca Mendez (F)
Los Angeles, US
Immortal since Mar 29, 2007
Uplinks: 0, Generation 1

Rebeca Mendez Design
UCLA, Design|Media Arts
Rebeca Mendez Art
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    From bianca
    Women in Art
    From henrys
    Installation Video
    From petergng
    From kbrinsho
    FEAR and the senses
    From adam
    Who gets to go?
    rebecam’s projects
    Branding the Species
    Background: Voyager’s Interstellar record is a disk with encoded information that was attached to two space probes currently making their...

    Design Media Arts at UCLA
    In the 1970s space colonies were considered to be a viable alternative to a life restricted to planet Earth. The design of cylindrical space...
    Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    into pattern
    flowing blood
    giving form

    in every part
    the whole you see

    from the moment of commitment, nature conspires to help you

    nature conspires to help you

    bjork + matthew barney, 2006.

    Tue, Apr 3, 2007  Permanent link

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    Article to read:

    Enjoy the amazing work of artist Olafur Eliasson:

    Another great read is:

    Olafur Eliasson: The Weather Project at the TATE, London
    Tue, Apr 3, 2007  Permanent link

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    As reference I'm including this permanent art installation I created for architect Thom Mayne of Morphosis for his recently completed Recreation Center at the University of Cincinnati. You can read more about the project and see more images at my site: under 'projects.'

    University of Cincinnati Marché Art Installation, 2006


    For the second commission at the new Rec Center, Thom Mayne of Morphosis asked Rebeca Méndez to create an art installation on four cone-like structures, two of them reaching over 50 feet high and piercing through the roof. The cone structures envelop the kitchens of the food court, and hide all the piping and machinery necessary for such enterprises. What often happens in spaces like these is that the occupants fill them with evergreen ficus trees to liven up the interior, often leading to dreary, dried out dust collectors dying in a lonely corner. Permanent flora printed on the cones, Morphosis imagined, would avoid this tragic fate. Méndez and Mayne discussed D’Arcy Wentworth Thompson’s seminal work On Growth and Form (1917), which posits that processes in nature fit mathematical equations, setting out to prove a unity of life by its relationship between form and function. To expand on this, Méndez studied Stephen Wolfram’s book A New Kind of Science (2002) where he states that repetitive application of simple computational transformations is the true source of complexity in the world. Méndez’s investigations into how to create a visual dialogue between flora, the architecture, and the site led her to select grass — specifically giant reed grass — for her art work. Over many months and continents, Méndez photographed grass from various points of view and under the different weather conditions allowing light and wind to create visual difference, and to reveal the patterns that one simple form — a blade of grass — produces through complex organisation.
    Tue, Apr 3, 2007  Permanent link

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