Azurebumble

Georges Rousse : ‘Site-Specific Installations’

azurebumble — Sun, 29 Jan 2012 03:02:01 +0000

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Georges Rousse
Site-Specific Installation
Photograph
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After he discovered Land Art and Malevich’s Black Square against a white field, Georges Rousse altered his relationship to photography, inventing a unique approach that shifted the relationship of painting to space. He began making installations in the types of abandoned or derelict buildings that have long held an attraction for him – creating ephemeral, one-of-a-kind artworks by transforming these sites into pictorial spaces that are visible only in his photographs.

Rousse is unmistakably a photographer: his photographs are intrinsic to revealing his images, and deciding the composition, cropping and lighting and clicking the shutter are all essential to his process. But he is simultaneously a painter, sculptor, and architect, carrying out the same relationship to his worksites as a painter to his canvas. His raw material is Space: the space of deserted buildings. Taking his inspiration from a site’s architectonic quality and the light he finds there, he chooses a “fragment” and creates a mise-en-scène, keeping in mind his ultimate goal, that of creating a photographic image.

In these empty spaces, Rousse constructs a kind of utopia that projects his vision of the world–his imaginary “universe.” His creation both expresses his artistic intentions and resonates with his impressions of the site, its history and its culture. Finally, this results in a photograph, a flat plane, so the shapes he paints and draws, and the volumes and architectural constructions he creates in those massive spaces seem fractured or split on different levels. His photo brings together painting, architecture, and drawing. It carves out a new space in which the artist’s fictive world becomes visible. At the heart of this questioning, his work deals with our relationship to Space and Time. [Extract : Bio]

Georges Rousse : Website

David Letellier : ‘Versus’ Kinetic Sculptures (Installation)

azurebumble — Sat, 28 Jan 2012 16:42:39 +0000

Versus is a sound installation consisting of two kinetic sculptures placed face to face.

Each sculpture is made of 12 triangular panels, hinged and powered by six linear actuators, controlled by a specific program. At the centre, a loudspeaker and a microphone plays and record sounds. At regular intervals, each sculpture produces a sound, simultaneously recorded and analyzed by the opposite sculpture, which then moves according to the frequencies of this sound. Like a feedback loop, it then plays back the recorded sound, with the errors and disturbances caused by the reverberating space and the visitors. By intervening in this conversation, the viewer becomes an actor, as he degrades the communication by his presence and the noises he produces. As the panels move back and forth at a pace determined by the environmental sound, they create a non-immediate interaction, where the imperfections of reproduction are becoming creative elements. The original sound is continuously transformed, and becomes something entirely new and unpredictable. The memory of past events goes momentarily, until it’s reproduced, degraded, and then forgotten, replaced by the present.

David Letellier : Vimeo

Matt Duffin : ‘Encaustic Wax on Panels’ (Paintings)

azurebumble — Sat, 28 Jan 2012 13:18:51 +0000

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‘high noon’
encaustic wax on panel
16″ x 16″
2008
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‘all in the family’
encaustic wax on panel
19 1/2″ x 18″
2010
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‘me and the man’
encaustic wax on panel
15″ x 15″
2008
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‘behind the curve’
encaustic wax on panel
24″ x 24″
2008
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‘untitled’
encaustic wax on panel
16″ x 16″
2008
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‘untitled’
illustration
2011
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‘backflow’
encaustic wax on panel
10 1/2″ x 11″
2010
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Matt Duffin studied architecture, but never practiced as an architect. Instead, he chose to explore the more human themes of solitude and irony through art. His medium has evolved from charcoal to encaustic wax, but he continues to dwell in the realm of dark recesses and stark contrasts. – [Ex : Bio]

Matt Duffin : Website

Ernst Haas : Colour Photography

azurebumble — Sat, 28 Jan 2012 00:10:55 +0000

“I never really wanted to be a photographer. It slowly grew out of the compromise of a boy who desired to combine two goals — explorer or painter. I wanted to travel, see and experience. What better profession could there be than the one of a photographer, almost a painter in a hurry, overwhelmed by too many constantly changing impressions? But all my inspirational influences came much more from all the arts than from photo magazines.” – Ernst Haas

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Ernst Haas
‘New York, 1981′
Colour Photography
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Ernst Haas
‘New York, 1961′
Colour Photography
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Ernst Haas
‘America, 1962′
Colour Photography
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Ernst Haas
‘New York, 1975′
Colour Photography
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Ernst Haas
‘America, 1956′
Colour Photography
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Ernst Haas
‘New York, 1952′
Colour Photography
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Ernst Haas
‘Utah, 1969′
Colour Photography
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Haas’s frustration with the limitations of technology pushed him at every turn to be slightly ahead of his time. He was a technological pioneer with the eye of a painter and the soul of a poet. It has been written that before Haas there was no color photography, only colored photographs. Haas’s first color essay was on New York, the city he would ultimately make his home. When the editors of LIFE magazine saw it, they gave it an unheard-of layout of 24 pages and called it “Magic Images of a City”.

Essays on Paris and Venice followed. Ten years later, when the Museum of Modern Art held their first color retrospective, it was the work of Haas they chose to feature. Though a Magnum photographer in the heyday of photojournalism, Haas was not interested in color as reportage. He was interested in the super-reality of dreams. To achieve this he gave commonplace objects and silhouettes new meaning. A reflection brought home the hidden depths underlying a conventional urban storefront; torn posters peeling off buildings shaped themselves into an art gallery. In his quest to produce feelings, he introduced hues and tones never before seen in printed color. And at all times his work was informed and enlightened by a guiding intelligence capable of great and quizzical humor. – [Essay by Inge Bondi]

Ernst Haas : Website

Ernst Haas : Getty Images

Nicolas Jaar : ‘Wouh’ (ep – love you gotta lose again)

azurebumble — Fri, 27 Jan 2012 14:54:14 +0000

Track : Wouh
Artist : Nicolas Jaar
Label : Clown and Sunset
EP : love you gotta lose again

Sylvain Lagarde : ‘The dancer upstairs is in my head’ Series

azurebumble — Fri, 27 Jan 2012 11:51:23 +0000

“Photography or the art to think from the eye, well opened…”

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Sylvain Lagarde
Photography
40 x 40 cm
2009
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I have always taken photos : just to keep a scene, a mood in my mind… But it was an art of memory for a young man. My first artistic pleasure was to write. I don’t know precisely when and why, but these two passions were conjugated for me : words can be combined into images, and images can recall some poetic words and thoughts. In fact, photography is a way to kill the time and preserve a vision, an impression, a feeling. When I want to shoot something, to fix an instant in time, it is that something, for me, that makes sense : for my eye (an aesthetic pleasure), for my heart (an emotion), for my head (i think that an image can always be analyzed and interpreted). So, my photographs are a visual kaleidoscope which composes a “point of view” on the world : that is to say a particular look (that does not mean original ; on the contrary, sometimes), an opinion, and a mood at some point.

Black and white photography is for me a monochrome expression which is able to go to the spirit of everything because it eliminates the “superficiality” of colors. It doesn’t mean that color does not have its place. Color imposes another vision. But black and white is the way i use to reach essence, because it’s a “realistic abstraction of the reality”. If my photographic interests are very variable and various, i hope however that a coherence “speaks” : that of a search of the shape, between strict geometry and harmonious lines of the nature, between a world without human trace and the ghostly presence of human beings. I hope also this personal tendency is not only a simple formalism but a way to underline that which gives to an image a soul, even if there’s no human life in the frame. – [Ex : Artist Statement]

Sylvain Lagarde : Website