Showing posts with label the unexistence of echo. Show all posts
Showing posts with label the unexistence of echo. Show all posts
Wednesday, 14 April 2010
Monday, 22 February 2010
Damage Goods,
this animation by fine artist Barnaby Barford, was commissioned by
at the David Gill Galleries, from 19 february- 20 March 2010
Monday, 18 January 2010
Tuesday, 22 December 2009
Mirror by Tetsuo Kondo Architects
Surely this is incredible... but follow the original postage at Dezzen's Blog Archive and read the comments.. that's when it gets interesting... :) yep yep...
Tetsuo Kondo Architects of Tokyo have designed a mirror that reflects a clear image when viewed straight-on but appears cloudy from the side.
A special film laid over the glass creates this effect, while the frame is covered in embossed paper.
Here’s a little information from Tetsuo Kondo:
–
Special film is applied to the surface of this full-length mirror, which reflects a clear image at its center, when looked at directly.
Functional in essence, the piece also maintains the aura of a sculpture, softly shining when seen from an oblique angle.
Depending on the beholder’s viewing angle and distance, the mirror’s appearance transforms.
The frame is finished with subtly embossed paper, revealing itself on close inspection.
all images and text from Dezeen's Blog archive.
Tetsuo Kondo Architects of Tokyo have designed a mirror that reflects a clear image when viewed straight-on but appears cloudy from the side.
A special film laid over the glass creates this effect, while the frame is covered in embossed paper.
Here’s a little information from Tetsuo Kondo:
–
Special film is applied to the surface of this full-length mirror, which reflects a clear image at its center, when looked at directly.
Functional in essence, the piece also maintains the aura of a sculpture, softly shining when seen from an oblique angle.
Depending on the beholder’s viewing angle and distance, the mirror’s appearance transforms.
The frame is finished with subtly embossed paper, revealing itself on close inspection.
all images and text from Dezeen's Blog archive.
Sunday, 8 November 2009
TODAY @ OFR
I’ve been a good boy: I took the little piece of paper
I’ve been a bad boy: I didn’t listen to what the guy was saying
I’ve been a bad boy: I lost the little piece of paper
Overall result, I am unable to tell you who built these pretty sexy pieces of art
I guess, I’m an overall bad boy
text and videos from Sang Bleu's blog on October 25th 2009
I’ve been a bad boy: I didn’t listen to what the guy was saying
I’ve been a bad boy: I lost the little piece of paper
Overall result, I am unable to tell you who built these pretty sexy pieces of art
I guess, I’m an overall bad boy
text and videos from Sang Bleu's blog on October 25th 2009
Friday, 6 November 2009
Monday, 27 July 2009
tamar levine
I like the ghostiness and technicolorness of this.. and why not, a bit of cheese
all images from her website and blog
all images from her website and blog
Tuesday, 23 June 2009
Nicholas Hughes
From the series In Darkness Visible, Verse 1 and Verse 2
In Darkness Visible 2005 – 2007
His luminous photographs could well be considered paintings in the sense that they are often multi-layered constructions. Yet they remain pure photography……Hughes is indeed both writing with light as the root of the word photography implies and using the camera as one of photography’s inventors, Henry Fox Talbot described it, “as the pencil of nature.”
Verse I
In reaction to media led sensory anaesthetisation, and wearied by empty political rhetoric, my aim was to construct a forest built from accumulated memory and the ghosts of trees. Spending a period of two winters’ visiting public spaces in central London, this work inverts decorative Arcadian layout in an attempt to restore a sense of the natural in the cultivated, somewhat synthetic city ‘wilderness’ spaces.
Verse II
Turner was moved by what he called “The weather in our souls” - he could see the universe in a rainstorm. This study of ocean currents found added gravitas through the weight of childhood familiarity.
This search for emblematic last points of light within ensuing darkness involved long periods of contemplation on the complexities of nature, from a familiar vantage point, finding company in the words of Thoreau in his retreat to the American wilderness of Walden:
“All change is a miracle to contemplate; but it is a miracle, which is taking place every instant.”
Images and text taken from his website
I love this for the atmosphere, I like that foggy look, the not being able to see the end of this forest.
In Darkness Visible 2005 – 2007
His luminous photographs could well be considered paintings in the sense that they are often multi-layered constructions. Yet they remain pure photography……Hughes is indeed both writing with light as the root of the word photography implies and using the camera as one of photography’s inventors, Henry Fox Talbot described it, “as the pencil of nature.”
Verse I
In reaction to media led sensory anaesthetisation, and wearied by empty political rhetoric, my aim was to construct a forest built from accumulated memory and the ghosts of trees. Spending a period of two winters’ visiting public spaces in central London, this work inverts decorative Arcadian layout in an attempt to restore a sense of the natural in the cultivated, somewhat synthetic city ‘wilderness’ spaces.
Verse II
Turner was moved by what he called “The weather in our souls” - he could see the universe in a rainstorm. This study of ocean currents found added gravitas through the weight of childhood familiarity.
This search for emblematic last points of light within ensuing darkness involved long periods of contemplation on the complexities of nature, from a familiar vantage point, finding company in the words of Thoreau in his retreat to the American wilderness of Walden:
“All change is a miracle to contemplate; but it is a miracle, which is taking place every instant.”
Images and text taken from his website
I love this for the atmosphere, I like that foggy look, the not being able to see the end of this forest.
Lola Bunting
Was this the place? stereoscopic photograph, 2008
I saw her work in her graduation show last year at chelsea, unfortunately she hasn't got a website or blog, so this is the only image I could find of those beautiful little boxes she made...
What I remember of her boxes is that they were small, and you had to look through a glass, the room was dark, and the boxes where illuminated from inside, you felt a little sense of omnipotence, like if you were this massive eyes looking onto the entire world. I like this though for my boxes, may be I make a little window, i imagine looking into it and have this feeling of witnessing from above, looking into something you are not supposed to, the voyeur's eye . with a magnifying glass perhaps to distort and at the same time give depth.
I saw her work in her graduation show last year at chelsea, unfortunately she hasn't got a website or blog, so this is the only image I could find of those beautiful little boxes she made...
What I remember of her boxes is that they were small, and you had to look through a glass, the room was dark, and the boxes where illuminated from inside, you felt a little sense of omnipotence, like if you were this massive eyes looking onto the entire world. I like this though for my boxes, may be I make a little window, i imagine looking into it and have this feeling of witnessing from above, looking into something you are not supposed to, the voyeur's eye . with a magnifying glass perhaps to distort and at the same time give depth.
Monday, 15 June 2009
Caroline Coolen
“'Spitsbergen”
2008
“'Arctic landscapes'”
2008
“Mary – X – miss”
1999, gips, antennes
“Attic”, 2000,
houtskool + acryl op muur
All images from her website...
Ceramic has a domestic and home like context, like something you find at your grandmothers home, it is also fragile and very often we connect it with being expensive, something that as a child you are not aloud to play with, is a decorative beautiful object, I am thinking in particular those white and blue little persons.
So for my little 'narcissus and echo' forest, I would like to make them out of ceramic. I like the thought of their fragility, the being a beautiful object that you acquire as an adult. They would be depicting a moment which is tragic and cruel and totally private, I think this disassociation would make it very strong. I would like echo to be reflective, mirror like, to stand in front of echo and be her mirror.
2008
“'Arctic landscapes'”
2008
“Mary – X – miss”
1999, gips, antennes
“Attic”, 2000,
houtskool + acryl op muur
All images from her website...
Ceramic has a domestic and home like context, like something you find at your grandmothers home, it is also fragile and very often we connect it with being expensive, something that as a child you are not aloud to play with, is a decorative beautiful object, I am thinking in particular those white and blue little persons.
So for my little 'narcissus and echo' forest, I would like to make them out of ceramic. I like the thought of their fragility, the being a beautiful object that you acquire as an adult. They would be depicting a moment which is tragic and cruel and totally private, I think this disassociation would make it very strong. I would like echo to be reflective, mirror like, to stand in front of echo and be her mirror.
Rob Voerman
'Brother'
2000 Linoleumprint and soot on paper 97 x 77cm
Edition of 15 + 1AP
'Daylight.com'
2001 Woodprint on paper 160 x 100cm
Edition of 5 +1AP
'Host # 3'
2009 Wood,glass and polycarbonat 66 x 96 x 27cm
'Megafarm'
2004 Wood, glue, display-slides a.o.m. 235 x 135cm
Pigfarm with wooden annex with various function incopporated in it like: elderly-home, restaurant, funeral-home and museum.
all images taken from his website
When I found Voerman's work, I had already been researching on victims and tyrants for a while; and had already red the myth of 'narcissus and echo' and was thinking in how to create this little forest, a small 'box' where you could looking in to and witness their encounter. I quite like the rawness of Voerman's little constructions, in 'mega farm' the being able to see all the materials, very much like if he just found them on the floor and then made this and in 'host 3' hos it sort of grows in many directions.
2000 Linoleumprint and soot on paper 97 x 77cm
Edition of 15 + 1AP
'Daylight.com'
2001 Woodprint on paper 160 x 100cm
Edition of 5 +1AP
'Host # 3'
2009 Wood,glass and polycarbonat 66 x 96 x 27cm
'Megafarm'
2004 Wood, glue, display-slides a.o.m. 235 x 135cm
Pigfarm with wooden annex with various function incopporated in it like: elderly-home, restaurant, funeral-home and museum.
all images taken from his website
When I found Voerman's work, I had already been researching on victims and tyrants for a while; and had already red the myth of 'narcissus and echo' and was thinking in how to create this little forest, a small 'box' where you could looking in to and witness their encounter. I quite like the rawness of Voerman's little constructions, in 'mega farm' the being able to see all the materials, very much like if he just found them on the floor and then made this and in 'host 3' hos it sort of grows in many directions.
Subscribe to:
Posts (Atom)