Full-scale neoclassical and baroque buildings made of wire mesh loom over festival-goers at Coachella this week, representing artist Eduardo Tresoldi‘s largest works yet. The Italian sculptor is known for his eerie installations of translucent architecture, previously seen in a stunning indoor installation in Abu Dhabi, a ghostly ship sailing across Italy’s Bay of Sapri and the resurrection of a long-fallen church in Puglia. Entitled ‘Etherea,’ the new sculptures are a reflection on humankind’s relationship with our built environments.

“The installation plays ironically on the dualism between the pure and the filtered experiences that intertwine with one another, to eventually leave the man at the center of it all,” says Tresoldi. “With the passage from a macro-reality to a restricted one, the human body becomes a key to read, discover, measure and experience reality, just like architecture itself. An analogy between man, architecture and their surroundings is ultimately established.”

The three structures that make up ‘Etherea’ at the Coachella Music Festival stand at 36, 54 and 72 feet in height, taking Tresoldi’s sculpture to a whole new scale. They make a striking contrast with the palm trees, mountains and spectacular sunsets in Indio, California, where Coachella is set. Shots that include the crowds really reinforce just how big these creations are.

As always, the layers of mesh create a haunting sense of unreality, keeping the scenery and sky visible beyond each of the ‘buildings’ so they feel more like memories or projections than physical structures.

Photos by Roberto Conte

Hand most people some paper and an X-acto knife and ask them to make art, and at best, they’ll produce some cartoonish shapes spattered with blood. But these twelve artists are producing some of the world’s most impressive papercut art, whether by laboring over astonishingly intricate tapestries for months at a time or making use of clever minimalism for a surprisingly big impact.

Sea Creatures by Kiri Ken

Sea creatures and other natural subjects become the slightest wisps of paper in these extraordinarily delicate and detailed paper cuts by artist Kiri Ken, who shares her work on Twitter. The creatures often become something slightly unnatural in the textures and lines Kiri applies to their various parts, sprouting mechanical objects or patterns that look computerized.

Nature Scenes by Pippa Dyrlaga

Each teeny-tiny feather on a kingfisher’s wing, each scale on the body of a goldfish, is cut out with seemingly endless patience and unfailing accuracy in works by Yorkshire-based artist and printmaker Pippa Dyrlaga.

Anatomy by Ali Harrison

Ali Harrison’s versions of human organs are quite a bit prettier than the real thing, each one given surprising depth and heft despite being cut out of ordinary sheets of paper. The artist designs each one and then laser-cuts them so they can be reproduced. She sells them in her Light and Paper shop.

Endangered Species Cut-Outs by Patrick Cabral

Wolves, elephants, pangolins, tigers, pandas and more are rendered starkly in black and white cut paper against a black surface, each layer of their lace-like faces and bodies cut by hand. Manila-based artist Patrick Cabral donated half the proceeds from the sales of each of these endangered species to WWF Philippines.

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Nice Slice 30 Sculptures Illustrations Created With Cut Paper

Every dumb thing we humans do in this modern-day ‘civilized’ world is laid out in excruciating detail in these miniature scenes by artist Frank Kunert – not to mention our fears and anxieties. A row of public toilets is placed on a stage so strangers can watch you poop. A bride and groom poise at the end of a diving platform far too high above a pool, their friends and family watching below. A children’s slide empties onto a highway, and a bassinet is equipped with a desk so the little one can get to work as soon as possible. Pipes funnel human waste straight from the toilet upstairs into a television set, and a balcony projects into the path of a train.

Each of these works is a darkly humorous critique mocking us for contemporary habits and practices, from setting ourselves up for danger a la the Darwin Awards to creating cycles of consumption that kill us instead of satisfying us. Art museums are literally out of reach. The only living tree visible in the neighborhood is solely accessible via a dangerous staircase. A beautiful modern villa cuts off sunlight to the hovel below.

Some of the scenes look ordinary upon first glance, and it takes a moment to realize what’s wrong with them. Doors on the side of an apartment tower might lead into nothing but air, or a single chair at a formal dining table is placed out in the cold while the rest are cozy indoors.

Kunert painstakingly crafts each of these miniature scenes as part of his series Photographs of Small Worlds, and then documents them for his portfolio. He works on each one until it captures the mood and message he’s aiming for without any digital manipulation. You can see more of his work at his website, which offers much of his portfolio in photo book form, or in person September 10th 2017 through January 28th 2018 at Germany’s Museum Boppard.

A London building appears to have fallen victim to an earthquake tremor or foundation collapse, with a jagged section of its brick facade split in half and threatening to collapse altogether. But the deteriorating appearance of this otherwise pristine structure isn’t quite what it seems. Artist Alex Chinneck used 4,000 bricks to create the effect of a ripped piece of paper to create ’Six Pins and a Half Dozen Needles,’ a nearly 66-foot tall sculpture outside a mixed-use complex known as Assembly London.

With the paper reference, the artist pays tribute to the site’s former life as home to the publishing company Hammersmith. Chinneck says he spent months scanning torn sheets of paper to find just the right pleasing edge for the split. The sculpture blends into the main building behind it, partially obscuring a few windows, and its elevated position makes it a real eye-catcher. It’s two bricks deep, and took 14 months to complete, with the help of structural engineers, steelworkers and brick makers. Its stainless steel framework is bolted and welded to the building behind it.

Chinneck previously dropped jaws and raised eyebrows in London with two particularly dramatic installations: an upside-down car clinging to a curling piece of pavement outside the Southbank Centre, and a brick facade sliding off the front of a building in Kent. Unlike these previous works, however, ‘Six Pins’ is permanent.

“The work was onceived to engage people in a fun and uplifting way,” says Chinneck. “Although we use real brick, it was designed with a cartoon-like quality to give the sculpture an endearing artifice and playful personality. I set out to create accessible artworks and I sincerely hope this becomes a popular landmark for London and positive experience for Londoners.”

Life is tenuous and luxury easily lost, as illustrated in brilliant glittering fashion by this perfect replica of a Mercedes Benz S550 that has seen better days. Can arbitrarily assigned status be maintained even once an object has been used, abused and discarded for newer and nicer things? Artist Jordan Griska ruminates on these questions and contradictions with ‘Wreck,’ a crushed vehicle reproduced in faceted mirrored stainless steel.

Though its appearance intimates violence and destruction, the car remains undeniably beautiful thanks to all of those individual panes reflecting light at a slightly different angle, making it look like an oversized gemstone. Philadelphia Contemporary, which premiered the sculpture last fall at the city’s Pier 9, notes that the sculpture touches on the ways in which debauchery and decadence can spin out of control.

“Wreck is based on a computer-generated model of a luxury sedan, in a video game, which was manipulated to look like it was involved in a crash that resulted in a fatality,” says Griska. “I crafted 12,000 individual pieces of mirror-finish stainless steel, over the course of almost two years, in order to transform that model into a full-sized three-dimensional monument.”

“The perfect geometry and flawless materiality of the piece reflect the inspiration of idealized digital design, in stark contrast with the grimness of the reality it represents. Beauty, technology and engineering collide with death and reality.”