Azurebumble : Fragmental (Book)

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AZUREBUMBLE : FRAGMENTAL (BOOK)

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Back/Front Cover

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“Fragmental” consists of ‘six’ series of digital artworks, each having evolved from small sections cut from photographs. A process where these basic elements have been combined and recombined numerous times to produce an extensive vocabulary of shapes and forms. With no preconceived ideas, I begin to play and improvise with these pieces allowing my imagination to create compositions, perhaps based on a simple pattern, an interesting association or architectural element, or maybe they’ll suggest some surreal narrative. These constructions can then form the basis for a continuation of this process, whereby selecting the most interesting aspects of these new images and placing them into the original pool, can create possibilities for fresh combinations and different ideas. This continual process of deconstruction and reconstruction also makes it possible to trace the evolution of specific elements throughout a number of incarnations and series. Despite the multiple choices this technique allows, I think it’s also important to introduce source material from outside the pool. Lately, using a similar process, I have been ‘remixing’ works by another photographer (Fernandoprats) and ‘refurbishing’ and ‘reimagining’ an old photograph by Andreas Feininger. In time, certain aspects of these series could possibly be integrated with earlier works to produce new and interesting hybrids.

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EXTRACTS

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‘Red Constructions’ Series
Digital Collage
2009

‘Constructions’ Series
Digital Collage
2009-10

‘Postcards for Fernando’ Series
Digital Collage
2010

‘Fernando Remixed’ Series
Digital Collage
2011

‘Feininger Reimagined’ Series
Digital Collage
2011

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VIEW FULL BOOK ONLINE

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Azurebumble : Website

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Inward Content (Delta Funktionen/Mohlao) : Inward Content

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Clandestine techno/house imprint, Meanwhile records reveals a one-off opus from two highly respected techno producers, Niels Luinenberg (Delta Funktionen) and Samuel van Dijk (Mohlao). The deeply mystical ‘Inward Content’ session represents the Leuwarden sound of their native north Holland with an elegant, classically informed and deeply refined brand of 4/4 also identified on celebrated 12″s for Ann Aimee and Delsin. The albums six tracks use an economical production palette, but we wouldn’t call them minimal. The emphasis is on subtly monotone melodic shades, from the rippling black masses of bass which power each track, to the bluest hued pads and unfathomably expansive atmospheres which lend them their spectral grace. Listening to this album is almost a mystical experience, like hearing the results of a seance conducted in low-lit surroundings calling upon the spirits of Basic Channel, Convextion and The Black Dog circa 1995. ‘Inward Content’ took over two years to assemble and techno connoisseurs can clearly discern why. [Extract : Boomkat Review]

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Inward Content : Listen

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Low – ‘Try to Sleep’ (Music)

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Track : Low – Try to Sleep
From their new album ‘C’mon’
released in April on the Sub Pop label.

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Michael Hansmeyer : Computational Architecture

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Subdivision : Platonic Solids

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How can a purely operations-based geometric process generate complex form? This project begins with the most primitive forms, the platonic solids, and repeatedly employs a single operation – the division of a form’s faces into smaller faces until forms of an astounding complexity are produced.

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Hexahedra
Platonic Solids
Subdivision Series
2008

Hexahedra
Platonic Solids
Subdivision Series
2008

Hexahedra
Platonic Solids
Subdivision Series
2008

Hexahedra
Platonic Solids
Subdivision Series
2008

Hexahedra
Platonic Solids
Subdivision Series
2008

Tetrahedron
Platonic Solids
Subdivision Series
2008

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Rather than studying the possibilities in combining numerous primitives, this project examines the potential inherent in a single primitive given an appropriate process. It takes the most primitive forms, the platonic solids, and repeatedly employs one single operation – the division of a form’s faces into smaller faces – until a new form is produced. All of the forms shown are generated using the same single process, Only the variables that control the process’ division operation are allowed to change. This single process affects both the form’s topography and topology. It influences attributes such as the degree of branching, porosity, and fractalization – just to name a few. The process also works at multiple scales: it affects not only the overall shape, but it determines the surface development as well as the generation of miniscule textures. The resulting forms display a novel aesthetic and an astounding complexity that largely defies attempts at reductionism. [Subdivision : Platonic Solids]

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Michael Hansmeyer : Projects

Michael Hansmeyer : Statement

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John Knight : “Commemorative Plates” (Exhibition)

John Knight
“Commemorative Plate”
Greene Naftali
2011

John Knight
“Commemorative Plate”
Greene Naftali
2011

John Knight
“Commemorative Plate”
Greene Naftali
2011

John Knight
“Commemorative Plate”
Greene Naftali
2011

John Knight
“Commemorative Plate”
Greene Naftali
2011

John Knight
“Commemorative Plate”
Greene Naftali
2011

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Greene Naftali is pleased to announce an exhibition of new work by the Los Angeles-based artist John Knight, his first solo exhibition in New York following his legendary shows at Colin de Land’s American Fine Arts, Co. Since the early 1970s John Knight has dedicated his practice to mapping the intersections of art, design, and institutional power through a series of spatial interventions and graphic maneuvers. Following closely on the architectural implications of Minimalism, Knight belongs to a generation of artists that has consistently addressed the ideological valences of constructed space.

Knight turns to the museum in an age of cultural expansion. In the last several years it has become necessary for museums to expand not simply to house their ever-growing collections, but also to stake their claim in a global tourist trade characterized by spectacle and speculation alike. In his set of commemorative plates, Knight offers a variety of graphics depicting a varied collection of extensions and new building wings. Omitting the footprints of the original historic buildings, Knight depicts these expansion projects both lost in space and lacking a center, a collection of eccentric shapes deflated of spectacular power. Drawing a radical equivalence between all these buildings, Knight shows them to be less exceptional feats of mastery than the result of a standard, repetitive demand. Together, the plates function as a strange collection of formal glyphs, a lexicon of the morphology of our time that binds together graphic and product design with the “autonomous” practice of architecture.

For the installation of this project Knight has evacuated Greene Naftali’s main gallery so as to turn it into a foyer replete with a sign advertising the exhibition. The sign bears the neologism Autotypes, a suggestive coinage that hints at a productive model informed by an unreflexive desire to create and expand. The installation of the plates themselves has been tucked away in two smaller rooms in back. Only a single vitrine containing a stack of plates emblazoned with footprints of the Guggenheim Museum’s ceaseless expansion is displayed in front. Somewhat precarious, the stack carries a faint echo of the Tower of Pisa as well as the original Guggenheim uptown. Removed from the wall and returned to their use value, these plates appear frozen on the brink of yet another celebration. [press]

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John Knight : Greene Naftali

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Makoto Yabuki : Senkyou – Mergrim (Music Video)

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music : mergrim
visual : makoto yabuki
soundtrack : invisible landscape

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Makoto Yabuki : Vimeo

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