Hiroyasu Matsui : “Cubes” Series (Photo Constructions)

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What exactly is a photograph?  

… In choosing film as my medium for artistic expression I thought I must first understand and assess its essence and characteristics. At the same time I wanted to avoid perceiving my subjects through conventional values and interpretations, which is why I needed to create a suprematistic image. [ AS ]

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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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‘Cubes’ Series
Gelatin-Silver Print
11 x 17 in
2006
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I try to express contradicting elements such as photo and graphic; planar and three-dimensional; static and dynamic. Instead of expressing an image by photographing a particular subject, I perceived it as a two-dimensional art form consisting of light, thereby creating an image using the light from the lightbox.

Execution

Photographed cardboard cubes.
Uploaded to computer and fixed the density.
Printed outline on black paper and created masks.
Exposed while peeling off the masks on the light box in sequence.

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Hiroyasu Matsui : Website

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Royale : Howlin’ Wolf – “Evil” (Animation & Music Video)

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We recently created this music video for “Evil” by Howlin’ Wolf as part of the Videophonic session at the 2012 PromaxBDA Conference. The catch? All of the nine videos could only feature music that rocked out pre-MTV. Most of us weren’t even born then. Ha. We envisioned a Western narrative that felt more analog than digital. Our all-CG video featured high contrast white on black “scratch board” imagery. Ext

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Royale : Vimeo

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Simon Russell : “Wave Particles” (Motion Graphics)

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I’m a freelance motion graphics designer based in London. I like particles and drawing.

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I recently read The Wavewatcher’s Companion, a really fascinating book about all types of waves, from brainwaves to lightwaves to waves in traffic. It inspired me to have a play around with Thinking Particles in Cinema 4D and see if could replicate some of the behaviours described… – [Extract : Vimeo]

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Simon Russell : Website

Simon Russell : Vimeo

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Cristian del Risco : ‘Solamente…’ Series (Artworks)

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In his works Cuban artist Cristian del Risco blends painting, drawing, graphic design and photography.

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‘Untitled’
Pigment Print on Canvas
50 x 75 cm
2005
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‘Untitled’
Pigment Print on Canvas
50 x 75 cm
2005
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‘Untitled’
Pigment Print on Canvas
50 x 75 cm
2005
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‘Untitled’
Pigment Print on Canvas
50 x 75 cm
2005
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‘Untitled’
Pigment Print on Canvas
50 x 75 cm
2005
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‘Untitled’
Pigment Print on Canvas
50 x 75 cm
2005
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Cristian del Risco says that he’s always taking new photographs, which he exposes and scans as part of his process, ultimately becoming part of his finished works It’s a lot of mixing and experimentation, he explains. “They are like a combination of graphic design with photography, there are some illustrations, but I tend to combine graphic design with photographs more, I also use old photographs.”

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Cristian del Risco : ‘Solamente…’

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Cristian Del Risco & Martin Fojtek : ‘Dreamless’ Series

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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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‘Dreamless’ Series
giclée print & acrylics
95 x 95 cm
2004
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These five portraits (giclée prints on canvas) were made by Martin Fojtek and then hand finished with acrylic paint by Cristian Del Risco, making each and every photograph a real original. Both artists worked independently on them with very little influence on each other. The final results are a very interesting combination of minimalistic black and white portraits (two Arabic, Belgian, Italian and Czech personalities, all with particular emotional expression) and colored acrylic ‘J.M.Basquiat’ style paintings.

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Cristian Del Risco & Martin Fojtek : Fotografic

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Seana Reilly : Graphite Works

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“I make this work because I am intrigued by the play between the loose organic line and the tight architectonic line, the natural world and the intellectualized account of the natural world, the fact and the symbol for the fact, the life of the body and the life of the mind.” ~ Seana Reilly

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‘ThriceSurfeit’
Graphite on paper
Seana Reilly
8” x 8”
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‘InviolateRush’
Graphite on paper
Seana Reilly
8” x 8”
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‘ResolvingKazimir’
Graphite on Dibond
Seana Reilly
48” x 48”
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‘Spillway’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘ThermalRise’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘FractureGradient’
Graphite on Dibond
Seana Reilly
12” x 12”
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‘SecondaryVenting’
Graphite on Dibond
Seana Reilly
30” x 30”
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In my current body of work I am pouring a graphite preparation onto a non-porous surface, then using the same forces that shaped the earth to shape my imagery – gravity, fluid dynamics, sedimentation, and erosion. My use of graphite in these works speaks to both the arts and the sciences; it simultaneously references the artistic practice of drawing, vast geologic processes, and the carbon-base of all life forms. While pouring the liquid graphite, I restrain parts of the organic flow through architectural interventions or impediments. These constraints draw attention to the discrepancy between the natural physical properties of earth-based materials and the forms of control, both physical and mental, that humans routinely superimpose over them. The creation of the graphite ground is an exercise in giving up control, letting nature take its course. My interventions allude to human efforts to understand, classify, and mentally subdue those acts of nature. Semiotics, science, and Buddhist philosophy are all source materials for my work, which is a further exploration into insights gained during my years practicing Vipassana meditation. Through this practice I became aware of a break between the physical world and my mental perceptions of that world. I was able to experience the physical without attaching emotional or mental constructs to it – to separate the sensation of an itch from the urge to scratch it. The making of these works also allows me to experience vast geologic processes on a more intimate scale. It is my way of participating in this humbling immensity, a way to hold a small piece in my hand. It is the Tao’s world in a blade of grass. It is Joan Didion’s sense of belonging and purpose in an earthquake… ~ [ Seana Reilly : Artist Statement ]

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Seana Reilly : Website

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