Artist Benjamin Von Wong has created an extraordinary installation to raise environmental awareness by constructing a nearly 20-foot-tall phoenix from biochar in Thailand. Unveiled on Earth Overshoot Day, August 1, Carbon Phoenix is designed to spotlight the unique properties of biochar, a carbon-rich black solid often referred to as man-made charcoal. Biochar is renowned for its exceptional carbon removal capabilities, accounting for over 89% of verified carbon removal credits. This inspired Von Wong to envision an installation that symbolizes the average human’s annual carbon footprint—approximately four tons. The Carbon Phoenix was brought to life with the collaboration of local bamboo farmers and biochar producers, Wong Phai, over two weeks. The phoenix’s feathers are crafted from biochar bricks made from pyrolyzed bamboo offcuts, a waste byproduct from the construction industry that would otherwise be burnt or left to decompose into CO2.

“What I think is particularly unique about this installation is that it doesn’t just highlight the problem. It also highlights a possible solution for climate change. The best part? Anyone can participate by purchasing verified carbon removal credits,” says Von Wong. The phoenix now stands in Ratchaburi as a testament to the fight against carbon emissions and the potential of biochar as a solution. Von Wong hopes this project will not only bring attention to biochar’s benefits but also inspire artists and artisans to explore biochar as a creative medium. This installation is a call to action, encouraging broader adoption and awareness of biochar to combat climate change effectively. Further details about the making of Carbon Phoenix can be found on Von Wong’s blog.

In the tranquil expanse of Pembrokeshire’s coastline, Jon Foreman’s land art beckons the viewer to immerse themselves in the raw beauty of nature. With each meticulously placed stone in installations like Manifold Spiral, Foreman crafts a dialogue between the Earth’s materials and the human spirit. As sunlight bathes the circular arrangement of rocks, casting gentle shadows on the sandy beach, one can’t help but feel a sense of awe at the harmony between art and environment. Foreman’s choice to work with on-site materials not only underscores his reverence for the natural world but also invites contemplation on the transient nature of existence. His sculptures, vulnerable to the whims of tides and weather, serve as ephemeral monuments to the ever-shifting landscape.

Through the lens of his camera or the frame of his short films, Foreman invites viewers to witness the convergence of artistry and environment. Each composition, whether a meticulously arranged spiral or an organic cluster of stones, speaks to the interconnectedness of all things. As waves lap at the edges of his creations and clouds drift lazily overhead, Foreman’s art serves as a reminder of the profound serenity found in simply being present in nature. With every new installation, Foreman continues to captivate audiences, offering glimpses into the profound beauty that surrounds us and encouraging a deeper appreciation for the world we inhabit.

Australian sculptor David Cox has found a remarkable way to grant old pianos a second life, transforming them into magnificent phoenix sculptures that soar with elegance and symbolism. Recognizing the sentimental value attached to these instruments, Cox delicately repurposes their parts into sweeping artworks that honor cherished memories shared around the piano. Inspired by architectural salvage and the recycling of historically significant materials, Cox infuses each sculpture with a profound sense of history and emotional resonance. What began as a creative experiment has evolved into a transformative endeavor, with Cox crafting over 50 phoenix sculptures that captivate viewers and serve as poignant reminders of the enduring power of art to breathe new life into the past.

Each phoenix sculpture Cox creates is a testament to the unique stories and personal experiences associated with the pianos from which they are born. Customized to reflect the individual tastes and memories of their owners, these artworks become cherished centerpieces in homes across Australia. With meticulous attention to detail, Cox ensures that every piece is imbued with its own distinct character and significance, creating a deeply personal connection between the artwork and its owner. As he continues to breathe life into forgotten pianos and evoke emotional responses from those who encounter his creations, Cox’s phoenix sculptures serve as powerful symbols of renewal and transformation in both art and life.

In the mesmerizing creation titled “The Third Octave,” artist Maskull Lasserre boldly amalgamates the worlds of sculpture and music by ingeniously fusing two pianos into a single, surreal masterpiece. The transformative process involves the meticulous carving of a remarkably lifelike octopus, whose tentacles intertwine the dissected pianos, bridging the gap between the two instruments. Lasserre’s artistic daring is evident as he invests approximately 2,000 hours into the project, embracing the uncertainty of the outcome with no predefined manual or established approach. His background as a former violinist contributes to the analogy of crafting the sculpture as akin to improvising a musical recital, highlighting the real-time decision-making inherent in the intricate carving process.

The intricacy of the sculpture becomes apparent upon closer inspection, as each piano undergoes careful dissection, revealing strings and hammers that spill forth in a visually captivating display. Lasserre’s seamless integration of the two pianos creates an optical illusion, presenting the amalgamated instrument as a singular, elongated piano. Acknowledging the potential unease among music enthusiasts regarding the transformation of these revered instruments, Lasserre acknowledges the necessity of pushing his artistic boundaries to elevate the pianos into something entirely new and unexpected. The artist aims to transcend the conventional auditory appreciation of musical instruments, inviting viewers to explore a different currency of value — one rooted in thought, visual intricacy, and the symbolic resonance between the mechanics of the piano and the anatomy of the octopus.

In reflecting on the process, Lasserre emphasizes the transposition of a musical instrument into a sculptural object, recognizing the sacrifice of the pianos’ expected sonic potentials for the creation of an artwork that captivates through its intellectual and visual richness. The sculpture becomes a harmonious fusion of art and music, encapsulating the beauty of both the instrument’s mechanisms and the intricate anatomy of the octopus. “The Third Octave” stands as a testament to Lasserre’s innovative spirit, pushing the boundaries of artistic expression and challenging preconceived notions about the transformative power of sculpture in relation to cherished musical instruments.

George and Roxanne Miller, owners of the world’s largest collection of mechanical puzzles, have recently relocated their extensive collection from Puzzle Palace in Boca Raton, Florida, to a 15th-century, 52-room castle in Panicale, central Italy. The Miller collection comprises over 80,000 puzzles, including more than 5,000 Rubik’s Cubes, over 7,000 wooden burr puzzles, and 140 brass, bronze, and gold puzzle sculptures by Spanish artist Miguel Berrocal. The couple decided to embark on a road trip across the United States, visiting puzzler friends and acquiring additional puzzles along the way, before shipping their collection to Italy in five 40-foot containers. The road trip served as a “last hurrah” before settling into their new home in the Italian castle.

The Millers’ collection includes a diverse array of puzzles, ranging from Rubik’s Cubes and wooden burr puzzles to intricate sculptures by Miguel Berrocal. Puzzle Palace in Florida was dedicated to housing the vast collection, which occupied not only the mansion but also a nearby museum. The couple’s decision to buy a castle in Italy allowed them to house their extensive collection in a fitting setting. During their road trip, the Millers visited friends and puzzle enthusiasts, collecting additional puzzles along the way. The journey culminated in the shipment of the puzzles to Italy, marking the beginning of a new chapter for the world’s largest collection of mechanical puzzles in its new home.

Debra Bernier, a visionary Canadian artist, has captivated the art world with her exceptional sculptures crafted from the treasures of nature. Renowned for her ability to breathe life into the discarded, Bernier’s masterpieces are predominantly composed of driftwood, seashells, dried mushrooms, and crystals. Her work embodies a harmonious fusion of organic elements, showcasing a deep appreciation for the beauty found in the natural world. Bernier’s creative process involves sourcing materials from the shores of Vancouver Island, where she resides, allowing the environment to play an integral role in shaping her art. The result is a collection of stunning sculptures that not only celebrate the inherent elegance of these found objects but also convey a profound message about the interconnectedness of nature and artistic expression.

Through her art, Debra Bernier invites viewers to contemplate the delicate balance between the man-made and the organic. Her sculptures, whether depicting intricate seashell wings or ethereal figures emerging from driftwood, exude a sense of enchantment that transcends traditional artistic boundaries. Bernier’s commitment to sustainable art resonates with a global audience, drawing attention to the importance of environmental consciousness in the creative process. In a world often dominated by synthetic materials, her work stands as a testament to the enduring force of natural elements, inviting viewers to rediscover the magic within the mundane and appreciate the transformative power of art inspired by the earth itself.

You can buy her sculptures HERE…

Dignity of Earth & Sky is a sculpture on a bluff overlooking the Missouri River near Chamberlain, South Dakota. The 50-foot (15.24 meter) high stainless steel statue by South Dakota artist laureate Dale Claude Lamphere depicts an Indigenous woman in Plains-style dress receiving a star quilt. According to Lamphere, the sculpture honors the culture of the Lakota and Dakota peoples who are indigenous to South Dakota. Assisting Lamphere were sculptors Tom Trople, Jim Maher, Andy Roltgen, and Grant Standard. Automotive paint expert Brook Loobey assisted with the colors for the quilt, and Albertson Engineering of Rapid City, South Dakota, ensured the sculpture would endure the strong winds common in the area.

The statue was erected in September 2016

In a 2017 column published in the Sioux Falls Argus Leader, Susan Claussen Bunger, instructor of Native American social systems, wrote:

As is evident through history, humans will ultimately disillusion and betray. As is such, I have a new role model who is solid and sturdy. She literally owns a spine of steel and reminds me of the injustice in the world, but also of strength, perseverance and survival. She signifies people who have prevailed through the centuries. She represents all who resist and strive forward. She portrays a rallying cry for those who wish to be heard and valued. She stands strong and proud, meeting the morning sun and bracing against the nighttime cold. She contemplates the world through a poise of conviction and fearlessness. Her name is “Dignity”.

Since July 1, 2017, South Dakota residents are now able to purchase auto license plates bearing the likeness of Dignity. The plates were designed with the help of the statue’s designer.

This sculpture took ten years to be ready and the result is truly stunning. The large bird sculpture is located in Kerala, India in an amazing place called Jatayu Earth’s Center and it is a natural park that opened in 2017. T
The park is co-owned by the state and film director and sculptor, Rajiv Anchal and recently became the place where the world’s largest bird sculpture is located.

The sculpture draws a large flux of visitors to the park, and with its 200 feet long and 150 feet wide measurements, its size is impressive, to say the least. But what makes the sculpture unique, are the small and intricate details added by the artist, as every feather is visible from its head to toes and wings. The large body of the bird serves as a roof for the Center and visitors can even go inside Jatayu’s body.
Anchal worked on the sculpture for more than ten years, having a team of handy artists dedicated their time to this masterpiece and the result is out-of-this-world. And since the design has a background story, it gives even more depth and character to this work, as Jatayu is a central figure in the Hindu epic, called Ramayana.
The bird is thought to have a divine origin and is the legend says that it is the rescuer of Site, who was the wife of Lord Rama (an incarnation of Krishna and Vishnu).

Sculptor Julian Voss-Andreae makes sculptures that defy the laws of physics and conventions. The artist, who has a degree in quantum physics views sculpture as an integrated part of the universe and uses this medium to test the laws of nature and science.
His sculptures, representing human figures are only visible from a certain angle, but when seen from another one they disappear and blend with nature.
Voss is trying to emphasize this way that no matter what we do as humans, we cannot break apart from nature and separate ourselves. Voss blends the theories of quantum mechanics with his work and brings together all the atoms and forces to build his artistic universe.

His large human-shaped sculptures are made from parallel sheets of thin metal and when light penetrates between each sheet, the sculpture disappears.
Since science is a big part of his work, other iconic pieces feature bronze sculptures of RNA and DNA and Carbon-60 molecules. You can visit his website to learn more about his work and the philosophy behind each carefully crafted sculpture.

Sculptor and physicist Julian Voss-Andreae crafts disappearing sculptures of metal which—as you move around them—melt into the environment.

The human forms are composed of parallel metal sheets cut strategically.

Voss-Andreae explores the paradigms which are classically accepted, and why those paradigms must shift to deal with the problems (and possibilities) of the future.

The artist’s other work also draws from scientific concepts, including DNA, RNA, and antibodies.