As you might imagine, this concept is the complete opposite of the way things are designed today. But, until someone comes up with a way to design cradle-to-cradle printer ink cartridges, we’re stuck finding clever ways to turn them into something other than landfill fodder.

Here are a few of the best ideas:

Bike path

Plastic (the major ingredient in ink cartridges) does not break down easily when buried or exposed to the elements. While this makes cartridges bad for the landfill, it also means that they’re great for outdoor upcycling projects. In 2010, an Australian company teamed up with the National Park Service to create a smooth, mud-free 10.6-mile bike path out of old printer cartridges in West MacDonnell National Park. The recycled plastic path only cost $330,000 to install — including a viewing station — and is sturdy enough to withstand the park’s 120,000 yearly visitors.

Chandelier (and lamp!)

Recently, indie designers Lowell & Louise made headlines with their whimsical and brightly colored lighting fixtures made from upcycled printer ink cartridges. The chandelier uses all of the ink colors: cyan, yellow, magenta, black, light cyan, light magenta and both grays. The custom-cut aluminum bar and cathedral-style chain give it a modern look, and the subtle ink colors work well with any palette. Unfortunately, their quick success (and subsequent marriage to each other) means that their Etsy shop has been empty for the past few months, but stayed tuned for more lamp designs to debut soon.

Sci-fi art

Not all upcycled uses for ink cartridges need to be practical. That’s why we love these sci-fi recreations by artist Faith Pearson. When presented with different brands and styles of spent ink cartridges, Pearson did what any good geek would do: She set about bringing the most iconic sci-fi scenes and props to life. Her rendition of the Starship Enterprise has been featured on websites all over the world, and her scenes from Godzilla and King Kong aren’t too shabby, either.

ReLife ink cartridge stamp

You know what’s even more shocking than all the used ink cartridges that end up in the landfill every year? The fact that most of them aren’t even out of ink! To combat the premature trashing, designers Kim Jungwoo, Kim Yoonsang and Park Eunsung came up with a creative way to utilize the last bits of ink. Their handy design turns spent cartridges into stamps with color-coded messages. Cyan’s message is “Recognition,” magenta’s is “Confidential” and yellow’s message is “Reuse Old Paper.”

DIY USB drive

Flash drives (aka USB drives) are essential for anyone who works or plays on a computer. These handy hardware devices can be plugged into the USB port of any modern electronic device to store or share information. But this floppy disk replacement can get pricey, especially if you have a lot of info that needs storing. Why not follow this Instructables guide to making your own out of a used printer ink cartridge instead? (Hint: This also makes an awesome and affordable gift for the geek in your life!)

This is not the paper bag that you duct taped onto your high school textbooks so you could draw on the cover when the teacher wasn’t looking. When you are done with this easy reuse method you will have a gift that feels as if it were wrapped in soft brown cloth.

Step 1

Begin by taking a clean paper bag and carefully unfold the bottom of the bag. It’s OK if you tear the paper a little — you will be trimming this later. Then, cut along the fold at one edge of the bag. Once completely open it should look like the below photo.

Step 2

Then trim any of the frayed edges that may have occurred when un-sticking the bottom. This is a good time to check the size of the box you are wrapping against the size of the paper. Place your gift in the middle of the open paper bag and fold the edges over, checking to make sure that the paper will overlap by half an inch where it meets over the box. Cut the paper bag to the appropriate size and put the scraps in your recycle bin or compost pile. Now for the fun part: crumple it.

Step 3

This is the longest part of this process, so you may want to do this while watching a flick or your favorite TV show. You will want to crumple and un-crumble it until it takes on the texture of soft fabric. There is no wrong way to do this; just make sure not to rip the paper or you may have to start over again. Once the paper is soft to the touch, you can wrap your present. Make sure to put the part of the bag with the advertizing on the inside. You can also use twine or ribbon to make your gift even more festive.

Finished product

The simple wrapping may seem lackluster in comparison to traditional wrapping paper, but in a mountain of sparkle your gift will be the one that draws the eye. And, the best part is, you have reused a bag you already had that can then be recycled or composted. So, while giving a gift to a friend or loved one, you will also have given a gift to the planet.

Although the ease, speed and relative environmental friendliness of email puts postal mail to shame, there are some times when it’s nice to receive a real card instead of the virtual equivalent.

For me, the holidays are one of those times. I love getting these brightly colored cards in the mail, each one a different interpretation of what the holidays mean to the sender. Because they can double as a lively decoration, I often display each holiday card on a shelf or even on the tree throughout the season. Tossing these cards in the recycling bin when it’s all over feels harsh when one considers the wishes of joy and cheer contained within.

That’s why I was overjoyed to learn that there are lots of ways to upcycle old holiday cards into decorations that can be enjoyed year after year. Here are some of my favorites:

Holiday card ornaments

With just a glass jar, needle and thread, scissors and some glue, you can transform old holiday cards into delightful paper ornaments that will brighten up even the tiniest tree!

Decorative gift jars

Homemade cookies and candy make great holiday gifts, but it can be hard to know how to package them so they’ll be both fresh and festive. Images from old holiday cards can be cut out and glued to upcycled coffee cans to create the perfect gift jar for edible treats.

Holiday gift tags

Why waste money on expensive gift labels when the wrapping will just be ripped off and forgotten? Instead, keep track of which present goes to whom by recycling old holiday cards into decorative gift tags.

Upcycled holiday luminaries

Use recycled greeting cards to cast a holiday glow over your favorite room by creating these festive luminaries. All you need are at least four cards of the same size, embroidery thread, a needle and a small hole punch.

What are your favorite handmade holiday decorations? Share your ideas in a comment!

Our sustainability initiatives

Better World Books adopts a companywide green power and carbon-balanced policy.

Andrew Perlmutter, CEO, Better World Books

In keeping with Better World Books’ environmentally responsible mission, we have decided to quantify all of the company’s operations and activities summarized in a greenhouse gas inventory (also known as carbon footprint) and fully offset the metric tons of carbon emissions the company generates.

By working hard to become a carbon-balanced company, we are continuing to live up to our commitment to being a Benefit Corporation (B Corp) that holds itself to a higher standard when it comes to environmental sustainability.

We have a sustainability team in place made up of passionate staff from our U.S. and U.K. offices, as well as consultants who are dedicated to ensuring that Better World Books continues to pursue its sustainability goals.

As part of our commitment to environmental sustainability, we never, ever throw away a book. Any book we cannot find a proper home for is recycled.

To date, Better World Books has reused or recycled more than 70 million pounds of books — that’s more than 64 million books! We have also reclaimed more than 720,000 pounds of metal shelving from libraries across the U.S.

Every BetterWorldBooks.com order has the option to be shipped carbon balanced for just a few cents extra. So far, we have offset 23,000 tons of carbon on BetterWorldBooks.com shipping.

Better World Books is a certified B Corp

We partner with 3Degrees, a leading green power and carbon-balancing firm, to secure verified carbon offsets and renewable energy certificates (RECs) from wind farms. Specifically, we are using our carbon offsets to support the Tatanka Wind Farm, the largest renewable-energy project in the Dakotas. This landmark wind farm will generate enough clean energy to power more than 60,000 homes!

According to reputable 3Degrees, we have secured RECs representing the generation of 2,108 MWh of renewable energy and carbon offsets equivalent to 6,514 metric tons of CO₂. By matching its electricity usage and emissions with these RECs and carbon offsets, Better World Books will reduce its environmental impact by the equivalent of removing 1,535 cars from the road per year.

How the company started

Better World Books was founded by two young Notre Dame grads in 2003. Ultimate Frisbee teammates Xavier Helgeson and Kreece Fuchs were told their used college textbooks were of “no value” to their campus library. So, the dynamic duo decided to try out a new website to sell their old books because they could not stand the thought of their books being thrown away.

Their experience selling books online was a success. Helgeson and Fuchs decided to make a social impact along with their environmental one and teamed up with the Robinson Community Learning Center in South Bend, IN, to hold a book drive. In their first drive, they collected 2,000 books. Through the sale of the books online, they were able to raise $20,000, half of which they donated to the community center.

Where we are headed

Ten years and millions of books and bucks later, Helgeson and Fuchs remain deeply involved in the daily life of their startup. Better World Books was a founding B Corp, taking a corporate stand for the triple-bottom-line approach to economy through a new way of doing business. We believe that people and planet are as integral parts of our success as is profit.

As a leader in the social enterprise movement, Better World Books was excited to announce our two latest (and perhaps greatest) initiatives: Book for Book and the Drop Box Program.

Every single time someone buys a book from BetterWorldBooks.com, we match that with a book donation to someone in need via our partners at Feed the Children or Books for Africa.

Our Drop Box Program is our way of empowering communities around the country to responsibly part with their preloved books. Rather than trash books, millions of people can now simply drop them in our big green boxes. The donated books will be sold online, with part of the funds going to our nonprofit literacy and library partners, donated to Feed the Children or Books for Africa or properly recycled. You can learn more about getting a Drop Box in your community here.

The future is bright for Better World Books. We are passionate about the growing space for business in the social and environmental sectors.

Andrew Perlmutter came to Better World Books having served as Division President of Vertrue, Inc., a holding of JP Morgan Chase’s private equity arm, One Equity Partners; Vice President of Sales and Market Planning at LexisNexis, a wholly owned subsidiary of Reed Elsevier; and President of GE Capital Claims Services. Mr. Perlmutter was also a founding board member of Atlanta’s North Metro Miracle League, a nonprofit for the disabled.

CD-Rs were great for ripping and burning music for your friends in 1997, but their small capacity, delicate form factor and the lack of an easy transportation or storage medium spelled their demise. They were never good for the transfer of work documents, reports, presentations or other files.

Yet many offices still use them. Weird. Maybe the problem is that they can’t figure out what to do with the drawers full of CD-Rs they currently have on hand. True, the exotic materials used to make CD-Rs do pose a very real recycling dilemma.

Fortunately, there are plenty of ways to recycle CD-Rs, but you can you can also go one step further and upcycle them into a myriad of things that are actually useful.

Where to recycle CD-Rs

CDs and CD-Rs aren’t suitable for curbside programs, but there are drop-off locations that will accept them in many areas. There are also a handful of organizations that will recycle your shiny circular storage for you.

CD Recycling Center of America will recycle the disks for free (you only have to pay for shipping), and GreenDisk charges a small recycling fee, but accepts a wider range of materials. Either program is a great choice for recycling your CD-Rs.

Handy DIY projects for old CDs

There is no shortage of projects out there that do little more than marginally increase the amount of time before your CDs end up in the garbage. Make-Stuff.com, however, has a fairly comprehensive list of CD reuse ideas that are actually useful.

Here are some of my favorites:

• Garden pest deterrent: Run a string through the CD hole and hang it in your yard or from trees to keep birds away from garden.
• “Scratch board”: Paint old CDs with either an acrylic or fabric paint. Then lightly draw/trace a design onto the dried surface and proceed to scratch onto the design (you can use a thick sewing needle, pencil or end of a small paintbrush). This removes the paint and leaves the shiny rainbow part exposed. Voilà, you have a unique “scratch board.”
• Mosaic: Break CDs into small pieces and use as mosaic tiles.
• Candle display: Place the CD shiny side up to sit small pillar or votive candles on. The reflection off the CD is great for centerpieces on buffet tables, especially during the holidays.
• Christmas light reflectors: Use CDs as reflectors for Christmas lights outside. C7-size bulbs fit through the opening, and then put the light string on outdoor stakes and line a sidewalk — it looks really cool when it is lightly raining. Clear bulbs work best, but opaque bulbs will do.

What are some of your favorite ways to recycle or upcycle CDs and CD-Rs? Does your office still use them regularly?

“Stroking Monet”
All images courtesy of Tom Deininger and used with permission.

Apart from the fact that it looks simply stunning, Tom Deininger’s work is interesting for us here at 1-800-RECYCLING because he uses materials that even many recyclers don’t want — stuff that’s nonrecyclable, nonbiodegradable or simply undesirable — all the while playing with our perceptions about what is and isn’t valuable. His giant junk landscapes are a case in point.

“Stroking Monet” detail

Deininger’s landscape junk assemblages depict idyllic landscapes and are made of junk, pure and simple. The artist explains: “I make my work out of found materials. Stuff that’s mostly nonbiodegradable and nonrecyclable. Bottle caps, lighters, combs, children’s toys, everyday plastics that we have — and I do it for a variety of reasons. One being environmental, but also [it's about] perception.”

“Plastic Paradise” — 12’ x 20’

Looking like a real forest, “Fall Foliage” is a three-dimensional jungle; only instead of autumnal leaves, we are looking at discarded plastic in all shapes and sizes. Apparently discordant and dissimilar, the hundreds if not thousands of pieces integrate to form what seems — at least from afar — to be one homogenous forest.

“Fall Foliage”

For Deininger, his art is a comment on the value we place on things — even nature: “We tend to dismiss things that are inexpensive and don’t look at their beauty overall,” he says. “But when you can take something out of context and put it together with a variety of other things, you can coax a new definition out of it and maybe a new purpose.”

“Stroking Monet” detail

“Stroking Monet” (top, above and below) is probably Deininger’s best-loved and most recognizable landscape because it pays homage to Monet’s painting “Bridge over a Pond of Water Lilies” from 1899. Bear in mind that the impressionist’s works don’t look the same up close as they do from a distance, either. It’s fitting, then, that Deininger’s bridge, surrounded by dense greenery, looks so much like Monet’s original.

“Stroking Monet” detail

Continuing to talk perception, Deininger muses, “Perception is really the backbone of my work. I think that all art, even reality, is about perception. And so you’ve got one thing up close and it coalesces into something else all together from a distance. So, just the idea of what is reality, what is truth, has everything to do with perception… It reminds me of how slippery it can be, what is real and what is true.”

“Fourtune Brainstorm Green” — 10′ x 20′

“Fourtune Brainstorm Green” is a 20’ x 10’ backdrop commissioned for the conference, “Fortune Brainstorm Green,” held in California. Like “Fall Foliage,” the piece recreates the illusion of looking at a real forest, complete with beautiful fall colors. Upon closer inspection, of course, the viewers discover that the branches and leaves are actually not organic, but plastic. Too stunned to be disappointed, they then take a closer look and fully appreciate the plastic smell that should have been a dead giveaway — literally.

“Birch Pink”

“Birch Pink” is a work that was commissioned for the lobby of the building at 325 5th Ave. in New York City. By selecting only white, black and gray plastic pieces with a sprinkling of pink and orange thrown in, Deininger created a spectacular effect.

“Birch Pink” detail

As the detailed view shows, many different items were used: plastic mesh, little toy figures, plastic pipes and strips that simulate narrow tree trunks.

“Birch Pink” detail

It’s amazing how the apparent chaos and randomness of the arrangement up close straightens itself out upon stepping away and looking at the bigger picture. A hint to view life itself with a broader sense of perspective? Definitely.

“Poland Springs” — 8′ x 8′

“Poland Springs” is a piece that, as its title implies, is made of plastic detritus from the water bottle company, Poland Spring. It seems to symbolize the many promises that lure us into buying a product that, from an environmental point of view, doesn’t make much sense. (Bear in mind, for example, that it takes a full 3 liters of water to make just 1 liter of packaged water.)

“Ansele’s Aspens”

“Ansele’s Aspens” is a thick birch wood forest made out of white, gray and black pieces of discarded plastic. The effect from afar is remarkable; it looks so real that visitors might be tempted to wander among the trees.

“Ansele’s Aspens” detail

Upon taking a closer look, the orderly if somewhat sinister-looking birch trees again reveal themselves to be nothing but junk. Junk, but intriguing junk nonetheless. It’s clear that Deininger’s work is thought-provoking, upcycled art par excellence.

Boston-born Tom Deininger attended Salve Regina University in Newton, RI, and graduated with honors in art. By his own account, he spent his 20s “going from place to place setting up studios, selling artwork.” He returned to Newport in 1999 and took a studio in nearby Fall River, MA, where he started his large found-object artworks.

Deininger’s multifaceted works have been exhibited as part of many private and corporate collections all over the U.S. and worldwide. Make sure you take a look at his website for more of his art. He never repeats the same theme, although the element of recycling and reuse is always present.

Additional sources: 1, 2, 3

This new show on Lifetime features best friends Tanya McQueen and Tracy Hutson as they travel across the U.S. in search of anything and everything they can get their hands to build inventory for their new store. Along the way, they provide tips and tricks for picking items ripe for reuse in your own city.

In order to start pickin’, you have to roll up your sleeves (maybe even wear some cowboy boots) and hit the road — literally. The first places you might want to look for antiques and used furniture that can be reupholstered or reinvented include your neighborhood streets. From time to time, stroll up and down the block on an evening before garbage pickup day, and you’ll certainly find trash that can be turned into treasure.

Now, if you’re not too keen about sifting through your neighbor’s unwanted goods, find a local flea market by using an online directory — the National Flea Market Association provides an easy-to-search database. Since many businesses are on Facebook nowadays, you might be able to track down flea markets via that route, too. Junkyards, auctions and farms are other great places to find treasures as well.

So, what types of items should you be looking for? It really can be anything. It truly depends on what you need, how much your budget is and how much time and effort you’re willing to spend on supplemental purchases.

For instance, the Picker Sisters suggest keeping things like rope, chain, wire, metal and wood around, because you never know when you might find use for them later. These supplies can turn raw materials into finished products.

The sisters have transformed many items into functional furnishings for the home. A large circular piece of metal was hung and upholstered to serve as a swing. Aged electric heaters were turned into an armchair. Oddly shaped metal pieces and motor parts were used as wall hangings. A metal wash basin was converted into a light fixture. As you can see, in the world of pickin’, there are no rules — it simply requires imagination and ingenuity to alter a seemingly uninteresting piece into an incredibly eye-catching focal point or accent.

All you have to do is hone your skills and do some “trash” collecting to make your designing dreams a reality. Even with one or two amazing pieces, you can rearrange and recreate a whole new feel in any room of your house. And remember: Sometimes reused items that show their age can breathe life into a space.

“Firefly”
All images courtesy of Martin Horspool and used with permission.

According to the man himself, New Zealand-based artist Martin Horspool is, “one of the few people lucky enough to be able to visualize personalities, hidden in disused household objects.” And a look at the following junk creatures will show that souls do indeed seem to reside in these metallic bodies. For example, with his broad mouth, red LED eyes and fire alarm body, “Firefly” is a truly bizarre yet also lovable creation — not to mention an amazing example of what can be achieved through creative reuse!

“AC/DC Davies”

Horspool takes a diverse range of household objects — everything from vintage lamps, electrical components, fridge parts and saw handles, to kitchen utensils, fans and bicycle parts — and brings them back to life as junk robots. Shining through in all his creations is the artist’s passion for 1950s and ’60s industrial design. “AC/DC Davies” is a packrat who has proudly incorporated everything he has amassed into his body: door handles, what looks like an old electric shaver, a retro power converter and other metallic odds and ends.

“Sheridan”

And you just gotta love “Sheridan.” This cool creation comes with a yellow hoop skirt courtesy of an old lamp. The wings were once a pair of salt and pepper shakers and the eyes vintage knobs. What’s not to love?

“Dodge Brother”

“Dodge Brother” is an old-school warrior — though one whose armor isn’t shining anymore. His helmet is scratched and dented, and the whole knight is in desperate need of lubrication, as his low oil level indicates. Still, the spirit of recycling is strong in this one.

“Kozyaire”

Speaking of mighty warriors, “Kozyaire” here is one charged-up character, as his gauge indicates. We’re not sure if it’s measuring pressure or temperature, but either way, it’s in the red! Looking at us out of one silver and one blue eye, this robot’s not to be messed with. Is that a hole punch providing extra armament on his back?

Scrap door handles, vintage whisks, window fasteners, old typewriter parts, shoe lasts, rusty spanners, garlic crushers, old clips, retro lamp bases, paint scrapers, broken umbrellas, retro can openers, early shaver parts and even sugar tongs (phew!) all work brilliantly for the arms and legs of Horspool’s junk robots. The artist’s collection of materials, all ripe for repurposing, sure is impressive!

“Dewi Buzz”

“Dewi Buzz” is the most adorable little bee made of vintage parts you could ever imagine. The yellow-and-black striped body seems to have been a can or keg of some sort, the eyes lustrous red buttons and the head some kind of recycled resistor or old switch. And, for extra propulsion, Dewi rests on some antiquated beekeeper’s bellows.

“Grinderman”

As the name suggests, “Grinderman” is made out of parts of an old meat grinder (check out the handle on his head!) but also much more: old door handles for the arms, a box for the body and what looks like an old speedometer dial. Intriguing! And for sale, too!

Where does Horspool find his treasures? By the side of the road, at flea markets and in car trunks, scrap yards, antiques shops and auction houses. Over the years, he admits that he “has stockpiled a collection of components to make any magpie jealous.” We’re glad he did, as this is some admirable recycling and repurposing.

“Vortexion”

“Vortexion” here is a tough little fella whose head was once a bicycle lamp and whose eyes came courtesy of an old shaver. Other “ingredients”? A switch box, an old gauge, window latches, ice trays, retro bottle openers and electrical fittings. Can you find them all?

Ro-Beco

Horspool admits that his search for objects has become an obsession. What’s more, interestingly, the found objects determine the piece, rather than the other way around. The artist explains that his “collection of discarded paraphernalia becomes the catalyst for the creation process.” Kitchen utensils and a vintage battery charger, for example, were assembled to give life to “Ro-Beco” — one awesome bot.

Mr. Krups

As his name suggests, Mr. Krups’ body comes courtesy of an old set of Krups kitchen scales. Don’t miss the mechanism on his back, made out of an old bicycle dynamo and a couple of discarded cans. Cool stuff and awesome recycling!

“Sharpie”

“Sharpie” is the militant one among Horspool’s junk robots. He has a mini hand grenade, knives and other weaponry handy. This green warrior looks like he’s always ready for action!

If you’re into jewelry, these unisex necklaces might be just what you’ve been looking for. Little robots become pendants, their bodies made from odd objects such as old vacant/engaged toilets locks, and arms and legs from angle brackets. Check out their cute but slightly grumpy-looking eyes. Like any of these pieces of recycled jewelry? Inquire with Horspool, as they’re for sale.

“McFly”

We hope you’re inspired now to make your own junk bots. Just remember that antique knobs, old switches and even tea strainers make for great face accessories. And you can create the heads out of discarded oil cans, coffee pots or even a kettle whistle. Just look at “McFly” here. He’s another adorable creation who owes his long nose to an old ice scoop and six legs to a vintage typewriter. Very creative!

Martin Horspool, originally from Wales, attended art colleges in Wrexham, Wales, and Liverpool, England. Now living in New Zealand, he has held sell-out exhibitions and regularly sells to collectors in London, New York, Europe and Japan. Make sure to take a look at his website for more amazing creations.

“Bust V (Grandfather)”
All images courtesy of Jeremy Mayer and used with permission.

With the advent of the personal computer, typewriters became obsolete fast. Even the most loyal typewriter user have probably by now switched to a computer. Still, though hardly used, typewriters are still around, even if they’re only gathering dust in attics, basements and offices.

“Nude IV,” (Delilah, 2009)

So, what to do with the millions of old machines? Oakland, CA-based artist Jeremy Mayer has found a solution: He turns them into incredible sculptures.

“Bust III” close-up

Looking at the human body and a typewriter alongside each other, we wouldn’t necessarily think that one resembles the other. This is where Mayer’s talent comes in. If you didn’t believe that typewriter faces can look scary, sexy or wise, take a close look at his work. After disassembling one or more typewriters, he takes those parts that resemble elements of the human anatomy and reassembles them to build busts, bodies or whole typewriter people with astonishing results.

“Bust IV”

As we browse through Mayer’s work, you will notice that there are few (if any!) typewriter parts that do not resemble a feature of the human body. A mechanical part becomes a human spine; a typebar a finger. Surprised? We sure were.

“Bust II,” (2004)

And the recycling aspect is just divine, literally. Mayer believes that everything in this world, natural or human made, is part of one closed system. Not everything can be recycled, though, so we need to be creative and, in his words, “Take everything we have, pick it all apart, choose the best parts and reassemble it.” A modern recycling mantra.

“Bust V” (Grandfather)

As if the sculptures themselves weren’t incredible enough, Mayer’s technique definitely is: it’s assembly in its purest sense — he uses no binding agents or tools. He specifies: “I do not solder, weld or glue these assemblages together; the process is entirely cold assembly.” This means that all parts are also movable. Plus, he does not add any pieces that have not come from a typewriter.

“Nude IV,” (Delilah, 2009)

Yet this doesn’t make for any restrictions in terms of expression. “There are some very sexy parts of human anatomy that draw you to the machine,” says Mayer. And looking at a sculpture like “Nude IV (Delilah)” above, we have to agree. A piece of this size usually takes Mayer about a year to assemble — it is made from close to 50 typewriters — and sells for around $20,000.

Delilah was modeled on Mayer’s girlfriend of the same name. Her breastplate was made from the top ribbon cover of a Royal Safari and the breasts come courtesy of the gears for the ribbon advance from a Remington.

“Hand I,” (2009)

Being a purist has its limitations too, as it prevents Mayer from making his sculptures move. This would require electronics and programming, and thus mean adding non-typewriter parts. He does, however, usually add one small element per sculpture that is kinetic in the broadest sense, such as eyes that move or bells that ring. But they’ll never become the focus of a piece and are often just known to Mayer and the final owner of the artwork.

“Nude II,” (2000-2001), here at the Nevada Museum of Art, November 2007

Apart from the disassembly and reassembly, a big chunk of the full-time artist’s work is spent on categorizing and sorting each piece. Sketching every new project on the computer and using a real-life model are also important preparations. A working knowledge of human anatomy is a must, and two well-thumbed anatomy books have been Mayer’s trusty companions throughout. (If you want to know how anatomically correct his sculptures are, just look at the “Nudes” closely.)

Reassembly is a tough and time-consuming exercise. Mayer explains: “The reassembly is very time intensive. For example, to do an arm, I have to figure out first what parts I want to use for the larger pieces that correspond to the humerus, the ulna, radius, digits, deltoid muscle, bicep, etc. Then I have to figure out how to connect them to each other by recognizing existing holes and connections on the pieces and utilizing the myriad of other smaller parts (screws, pins, set-pin collars, springs, plates, flanges and such) to fit into those holes and connections.” Sounds like one big puzzle to us.

“Hand III” (2010)

For Mayer, a typewriter holds a myriad of possibilities — not only as a mechanical object, but also as a microcosmos. He explained his fascination in an interview with Make magazine: “I had, from a pretty young age, wanted to take a typewriter apart or live inside of one. I used to stare at my mom’s Underwood and imagine myself inside it as a city, like in Fritz Lang’s Metropolis.”

“Nude II,” (2000-2001)

That’s quite an imagination, but after reading this article and seeing more of Mayer’s work, you’ll see that it’s not so far-fetched either.

“Nude III,” (Olympia, 2007)

Surprisingly, it took Mayer a while until he got a chance to delve into the inner workings of his first typewriter. He recalls, “When I finally got a hold of one that was a ‘stray,’ so to speak, I very gleefully took it apart. This was in my early 20s, and at the time I had been playing around with drawings that depicted flying heads with a sort of tech-mashup, neo-Baroque thing going on. The components of the typewriter fit right in line with that aesthetic.”

Looking at this early drawing, we can see Mayer’s mind working in a kinetic direction, and he admits, “My mind keeps coming back to this drawing I did exactly 20 years ago when I was 19. I put my latest sculpture next to it and it’s easy to see why. I feel like I’m finally getting to the point that I can do things with typewriter parts that I’ve always wanted to do with traditional sculpture methods.” Brace yourself for more awesomeness!

“Nude,” (1995)

As symmetry is key for Mayer, finding the right parts is not easy. In fact, one of the challenges of Mayer’s art is finding various typewriters of the same brand and model to guarantee this symmetry. He often needs four or even six machines for one sculpture; more for a life-size one.

“Bust V” (during reassembly)

It helps that Mayer is now quite well known and so often gets donations from fans and friends. Otherwise, it’s flea markets, thrift stores and Internet swap and recycling sites that he turns to to support his art. His favorite typewriter model is the Royal Safari because of its sensual look. It’s hard to find, though, so he usually uses Smith Coronas, Underwoods and other Royal models.

“Nude III,” (Olympia, 2007)

For critics out there who feel bad that he takes apart good typewriters, rest assured that Mayer focuses on easy-to-find machines that are neither in good condition nor worth repairing. And should he come across a vintage rarity, like, let’s say an Olivetti Valentine, he’d be the first to know its value and send it to a museum.

“Torso,” (2003)

As far as encouragement is concerned, Mayer got his first understanding glances from the typewriter repairmen he hounded for spare parts back when working in Iowa: “A lot of them understood because all these years they had been looking at these pieces and going, ‘Hmm, this looks like a dude… a dude walking his dog!’”

“Torso,” (2003) close-up

He continues, “Sometimes they would have little figures they had made over their bench, or some hint that they understood these pieces to be either anthropomorphic in and of themselves, or a component of some living thing.” That was enough to know he was onto something and continue experimenting despite the often puzzled looks of those immediately around him.

In the studio…

Being surrounded by so many letters all the time does offer Mayer the temptation of forming words, clever puns, maybe, but so far he has resisted spelling anything in a bid to remove his creations from the context of writing machines. He says of his work: “I like to think of it as a post-apocalyptic exercise. After the apocalypse, there’s this guy in the junkyard making stuff for the village.” We like this image a lot. Mayer adds, “The brain is the typewriter of the future.”

“This is how they all start out — with a spine and a pelvis.”

Mayer is a member of the multifaceted group of artists called Applied Kinetic Arts (A.K.A.), one of whose members, Nemo Gould (and his mechanical sculptures), we have featured here on 1-800-RECYCLING.com before. Mayer gets his inspiration from science fiction, industrial design, anatomy, architecture and classical figurative sculpture, among many other sources.

“Nude II” and “Nude III” on display at the Nevada Museum of Art, November 2007

Though he studied engineering and material science at the University of Nevada – Reno for a year, Mayer never took any formal art classes. His talent has shown through from an early age, though, and he has been selling his paintings and drawings in galleries since the age of 14. His typewriter sculptures have been exhibited in solo and group shows throughout the U.S. Make sure to check out his website for his amazing typewriter animals and other projects.

“Mask III,” (2003)

If you have an old typewriter lying around at home, you could donate it to a museum or give it away for recycling. Typewriters are made out of cast iron, aluminum, stainless steel, hardened steel and copper — many different, valuable metals that can be reused or recycled.

Additional sources: 1, 2, 3, 4, 5, 6, 7

All images courtesy of Andreas Franke and used with permission.

Quiet pervades the old shipwreck. Only the steady bubbling sound of diving gear can be heard, and the occasional swoosh of flippers. The group of divers drift through this serene, slowly decaying sub-aquatic environment — encrusted with barnacles and all manner of shellfish — then come to a sudden halt.

There’s a lady hanging her washing in the middle of the ship! And three boys trying their luck with an old gum ball machine. Are the divers hallucinating due to a lack of oxygen? No, they’ve just come across a unique underwater art gallery, one situated about 7 miles off Key West, FL.

Austrian advertising photographer and artist Andreas Franke could be more than content with the success of his commercial work — his client list reads like a who’s who of global brands — but it seems his personal projects are much more sensational. The art gallery you see here is his brainchild. That’s right, in a project called “The Vandenberg: Life Below The Surface,” a shipwreck has been transformed into an art space beneath the waves.

It all started in 1944, when the USS General Harry Taylor was acquired by the U.S. Navy as a troop transport ship for use in World War II. She dutifully plied the waters until 1961, when she was transferred to the U.S. Air Force, converted to a missile range instrumentation ship and renamed the USAFS General Hoyt S. Vandenberg, or the Vandenberg for short.

The ship was retired from this duty in 1983; 40 years in service is a long lifespan for a vessel. Though this usually means death at a ship-breaking yard for most vessels, fate had a new lease of life — and a second and very different career path — in store for the Vandenberg.

In 1998, after 15 years of lying around, the Vandenberg was discovered and used as a location for the science-fiction movie Virus, in which she played the role of Russian vessel Akademik Vladislav Volkov. Even today, some of the Cyrillic lettering applied for the filming is still visible on her hull.

After this brief but glamorous moment in the limelight, the Vandenberg had to wait again for her next post-retirement job — for 10 years, it turned out. The ship was auctioned off, ready to be transferred to Key West by her new owner, this time with a more permanent purpose in mind: she was to be sunk and converted into an artificial reef in the Florida Keys National Marine Sanctuary. It was a time-consuming process, as paperwork had to be processed, funds raised and the vessel cleaned up and prepared.

The sinking finally happened on May 27, 2009, and since then the 522-foot-long ship has become the world’s second largest artificial reef, providing shelter and habitat for marine life and serving as an underwater classroom for marine scientists who are able to gather valuable material because of the ship’s placement on the ocean floor.

However, given her talent for performance, this wasn’t enough of a (re)purpose in life for the Vandenberg. During his first diving trip to visit the wreck in 2010, it took Franke only one look to realize the Vandenberg had hidden potential. After several dives, during which he took numerous pictures of the old sunken ship, Franke had a bright idea about how to make the Vandenberg a star again — and instill her with life once more.

Franke explains: “Even though there is so much life — marine life — all over and around it, the shipwreck itself, to me, is a dead thing. But I thought that if I put people on it, then there would again be life on that ship.”

And that’s what he did — populating the boat with people, though not actually but digitally. Franke added figures and scenery to the photographs he took, making them almost reminiscent of life on a cruise ship — and thus bringing viewers back to scenes that never were, in light of the Vandenberg’s military background. Franke comments on them as, “… mystified scenes of the past that play in a fictional space. Dreamworlds, where you can get lost or you can identify with. This makes a new and unexpected atmosphere.”

Indeed, Franke’s shots have an eerie, yet eventful life underwater. His 12 best photographic manipulations make up the waterproof gallery, at a depth of 93 feet along the Vandenberg’s starboard deck. Since August 4, 2011, any certified diver can visit. Dependent on the response, the aim was for the gallery to be open for a few weeks.

If you’re wondering how it is technically possible to exhibit photographs beneath the waves without them being damaged by seawater, be assured that Franke and his team have thought of everything.

Each photograph is pressed between two sheets of Plexiglas and enclosed by a stainless steel frame that has been sealed with silicone to keep out the water. Needless to say, no environmentally harmful materials were used. The frames are attached to the ship’s walls with strong magnets, making it easy to remove them at the end of the exhibition. We just love the double recycling aspect of the ship as a haven for fish and other marine life that also provides the divers with the enjoyment of seeing some art.

Franke has been a successful advertising photographer for more than 20 years and has won numerous awards. Several times he has been listed in Luerzer’s Archive among the “200 Best Ad Photographers Worldwide.” His client list is impressive, and includes customers like Ben & Jerry’s, Coca-Cola, Ford, Heineken, Visa and Nike.

For more about the Vandenberg’s art gallery, make sure to visit the official “The Vandenberg: Life Below The Surface” website. Though nothing could top visiting the Vandenberg, here is a video that shows something of what the experience is like.

Sources: 1, 2, 3

Ronin
All images courtesy of Mario Caicedo Langer and used with permission.

As we’ve discovered many times before here on 1-800-RECYCLING.com, there really is no trash in this world. Everything is treasure; and Colombian sculptor Mario Caicedo Langer’s work is (literally) living proof of this fact.

Globule

In his Robo Planters series, Langer combines unusually shaped plastic and metal pieces from a variety of discarded and defunct objects to make sometimes cute, sometimes menacing-looking robo-creatures.

Ronin

To soften the blow for those who might be fearful of these little monsters, Langer has merged their artificial materials with the organic, turning them into planters. Enjoy, as we take a look at some of the best!

Dr. Polifemo

Bobby da Crab (below) is one of our favorites among Langer’s large collection of Robo Planters. And the best part is, if you want to make your own cute crustacean planter, it’s both cheap and fun. Just rummage around a bit among things you don’t need and you’ll no doubt find what you want.

Bobby da Crab

Bobby’s body, for example, was an old deodorant cap; his eyes were once roll-on deodorant balls; and the eyebrows were simply two pieces of black plastic. Add some small iron angles, 16 small iron pieces from a picture frame for the legs, two black vents from a joystick, some copper wire, two alligator clips and ample screws and nuts, and that’s all you need for your own crabby Robo Planter. Get salvaging!

Planter Man

The idea for Planter Man here came to Langer while he was playing video games. He says, “Do you remember Mega Man’s classic enemies? Well, I always wanted to do something like that. So, meet Planter Man, Master of the Garden Stage!” His head/body was made out of an old and broken coffee filter; his feet once were oven knobs; his eyes more roll-on deodorant balls; and for the arms, well, a nozzle from a damaged heat gun, and a plastic cap that serves as a hand. Cool, huh? And extra kudos for the recycling ethos.

Battle Succulent

If something required is missing, remember Langer’s building rule no. 1: “If you don’t have it, replace it!” And if you follow rule no. 5 — “Always have junk in stock” — this wouldn’t have happened in the first place!

Mega Planter Man X

Mega Planter Man, though possessing a benign-looking mop of hair, is otherwise quite sinister in appearance — perhaps even downright frightening with his glowing camera lens eyes. He’ll be back!

Globule 2.0

Globule 2.0 with a cactus head has a body made out of a metallic half-sphere (found in cologne caps), old oven knobs for feet, metal car lighter plug clips for hands and an old hard drive as his breast plate. Nice work on reclaiming in the name of creativity!

Roh

Robot Roh looks like he has his thinking cap on, though it’s actually a lucky bamboo shoot. Langer found the black cylindrical aluminum “body” on a trip to the junkyard. The eyes were once bells and the nose a perfume cap. The rest will look familiar from Globule 2.0 above. Cool stuff!

Planter Man X

If you’re thinking about the kind of green stuff with which to fill your own Robo Planter, Langer recommends cacti, because they make for perfect heads — or rather, hairpieces! — and they don’t take up too much space or need much water, either. Perfect, indeed.

Follow the Leader

We know you’re dying to see some more of Langer’s creations, but first we’ll tell you what other household items he has used for the heads and bodies of his fascinating little creations. He says: “You will see strange materials like toilet floats, a plastic box from an inflatable jet ski, damaged kitchen aids and coffee makers, sausage and tuna cans and an industrial register. Almost everything with space for a plant could be transformed into a Robo Planter.” Couldn’t agree more!

Dr. Vergara

Oh, and don’t forget damaged toys, deodorant tops and even grandma’s rolling pins!

Cactus Post-apocalíptico

Langer recommends flea markets and junkyards as places from which to source these objects. Family and friends are also an invaluable resource — and should be instructed not to throw away any plastic or metal pieces without your permission. You tell ‘em!

Proctor Silex

Apart from Robo Planters, M.C. Langer, or “Cyborg,” as he likes to call himself, makes toys, accessories, crafts, props, planters, strange weapons and more out of everyday objects.

Cañonero

For the latest updates, you can follow Langer’s collection, “Basura Desencadenada,” or “Trash Unleashed,” on Facebook, and make sure to check out his Instructables.

The beginning of the documentary follows gleaners gathering potatoes after the harvest is over. On a potato farm in the Beauce region of France, we’re told that the firm potatoes are sold in containers of 5.5 to 11 pounds, and these have to be a specific caliber, a specific size, “so we dump anything bigger.”

'The Gleaners and I' filmmaker Agnès Varda

The documentary provided a few numbers: The potato harvest averages 4,500 tons per season, and 25 tons are rejected and dumped. It’s hard to tell from the film how much of those 25 tons are recovered by gleaneres. Potatoes can be rejected due to size, cuts or damaged spots. Since potatoes are a staple food, especially for the hungry, gleaning has gained a new-found popularity in the Beauce region.

People wait nearby and follow the trucks that dump the potatoes, and the children lead the way to gather them. Strangely enough, as I reread The Grapes of Wrath recently, it was eerie to see this still going on — significant amounts of food being dumped after the harvest while people nearby are hungry and malnourished.

One man that Varda follows gathers 200 to 300 pounds of large potatoes. Some people glean for an organization called Charity Meals that feeds the hungry. One of those gleaners says, “When I see all this go to waste, and that some people have nothing to eat, it’s really disgraceful.”

This man is juxtaposed with another man that the filmmaker follows back to his trailer. The man we follow to the trailer tells of losing his truck-driving job after a cop stopped him and checked the blood-alcohol content on his breath. He says, “As long as there’s welfare money left, OK, but after that… we have to beg.”

So much ground was covered here, between stories of urban gleaners, rural gleaners and Varda filming her luggage as “things gleaned” from trips, that many questions and thought-provoking subjects are raised.

We move on to the wine region, where unwanted grapes are stamped to the ground in some vineyards, discouraging people from gleaning.

“When I see all this go to waste, and that some people
have nothing to eat, it’s really disgraceful.”

Varda, who also narrates the film (the “I” in the title), offers her theory on why most people do not allow gleaning: “Anyway, half the people are stingy. They won’t allow gleaning because they don’t feel like being nice.”

A man refers to the penal code, though it’s not clear in what municipality he’s speaking of, which says gleaning is allowed from sun up to sun down, and only after the harvest is over.

Varda suggests that these dated laws don’t cover much ground anymore. She asks, “Old documents talk of the poor, the destitute, but how are we to consider those who want for nothing and glean just for fun?”

Art plays a large part in the film as well, as one found-objects artist is interviewed. Varda goes to several museums to inspect paintings that feature gleaners, such as “The Gleaners” (“Des Glaneuses“) by Jean-François Millet.

Urban gleaners show trashcans behind supermarkets and bakeries where out-of-date food is discarded. Much of the gathered food actually looks quite nice, and some of it is still well packaged. But this happens in America, too. Before he passed away, my grandfather often visited his local supermarket and gathered the food they were throwing out that day. He passed it around to neighbors, gave it to churches and shelters and let my sisters and I eat our favorite pastries. It was astounding to see how much he gathered just from one store.

We watch one man pick through discarded vegetables and fruit after a market, and the filmmaker asks about his diet. He says he eats six or seven apples a day. As we learn more about him, he reveals that he studied biology, he has a master’s degree and he lives in a shelter with a 50% illiteracy rate. At night, he teaches the shelter’s tenants how to read and write for free.

Overall, the film lacked a strong focus, but it’s worth a watch, even if you don’t make it all the way through. It is disheartening to see so much food left after a harvest, but many people (at least in France) seem to know and abide by the gleaning laws. One man who owns many acres of land lets gleaners pick after the harvest, but he has them sign in to keep track of who is on his land.

The most interesting thing I got out of The Gleaners and I were the questions. What happens here? How much food is left on the ground or dumped after a harvest? Why isn’t there a better plan for this low-to-the-ground or too-big-for-the-supermarket food?

The easy answer is that it is not cost effective for the growers, the owners of the land. As a culture that is getting further away from the earth, from growing our own food, it’s a struggle to answer these questions. The first step is to ask them, to think about them and to engage others in thinking about them.

The film didn’t strive to solve any issues involving food reuse, but instead the issues were raised in a quiet, whimsical manner. France is a fairly wealthy country compared to most, so it’s almost scary to wonder how much food is discarded in less developed farming countries.