Like photo-realistic art in reverse, these three-dimensional objects are carefully crafted to look like rough-edged, hand-sketched representations. If the approach looks familiar, you might be recalling our previous coverage of work by Daigo Fukawa from the Tokyo University for the Arts.

In this series, Jinil Park indeed also with sketches of this chairs, table and lamp set. The artist then hammered wires to create variegated metal lines in the air that look convincingly like those one would expect to find where pen meets paper. These pieces were then welded together to form the finished products.

If the first set seems to have too fine a point on things, you might prefer the subtler work of Maya Selway instead. This designer has crafted a series of vessels made to look like minimalist outlines. Each piece is perfectly balanced to create the illusion of incompleteness while still being able to stand on its own.

Speaking of the intersection of 2D and 3D, any article would be remiss not to mention the remarkable work of FRONT, a group that takes virtual 2D-captured sketches (drawn by hand in the air) and turns them into 3D-printed models.

A camera-linked computer program extrapolates the form from the gestures of the designers, then extrudes a corresponding shape with surprising (and increasing) accuracy coupled with a strong touch of whimsy (like a 3D Doodler writ large).

Motion pictures aside, the nature of photographic representation implies freezing space in time – a moment captured and preserved, independent of what comes before or after.

Yet, as photographer Fong Qi Wei points out, “we do know that time is also a dimension, like length, breadth and width. In fact, physicists have a model called space-time: suggesting that time is part of a continuum with the 3 dimensions that we are familiar with. But the print is still an instance. Most paintings and photographs are an instance of time. That’s not the way the world works. We experience a sequence of time.”

His solution is this photo series, Time is a Dimension, in composed mostly of “landscapes, seascapes and cityscapes,” which “are a single composite made from sequences that span 2-4 hours, mostly of sunrises and sunsets. The basic structure of a landscape is present in every piece[, but] each panel or concentric layer shows a different slice of time, which is related to the adjacent panel/layer. The transition from daytime to night is gradual and noticeable in every piece, but would not be something you expect to see in a still image.”

There is a playful and experimental quality to the variety of approaches found within this set of images. Sometimes a series of casually-drawn circles spread out from a focal point. In other cases, rays like a child’s drawing of sunshine span from some implied but out-of-frame source. Each has at least one surprise upon inspection, like the changing reflections in glass over the course of a day, or the differences in artificial illumination going into the night. Overall, the results are rich in colors and shades but also do tell a story of time elapsing, quite by design.