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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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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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‘Untitled’
Sam Serafy
Artwork
2012
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‘Untitled’
Sam Serafy
Artwork
2011
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‘Untitled’
Sam Serafy
Artwork
2012
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‘Untitled’
Sam Serafy
Artwork
2011
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‘Untitled’
Sam Serafy
Artwork
2011
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‘Untitled’
Sam Serafy
Artwork
2011
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‘Untitled PH 2107′
140 x 120 cm
C-print
2007
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‘Untitled’
140 x 120 cm
C-print
2012
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‘Untitled PH 211′
140 x 120 cm
C-print
2011
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‘Untitled PH 2709′
140 x 120 cm
C-print
2011
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‘Untitled PH 1605′
140 x 120 cm
C-print
2010
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‘Untitled PH 108′
140 x 120 cm
C-print
2011
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This work represent the most recent stage on my personal artistic path. From compositions on paper and paintings, I have expanded my research into conceptual photographs. Selected from raw, elemental works on paper, some drawings are cut apart and set into motion to become the basis of these images devised through a solely analogical method. In the act of displacement, these light sculptures are defined by a gesture of substitution as time caught on a surface. Originating from nameless forms, intact drawings and their constructed counterparts appear in fetish form. As the photographic support contracts and hardens, the transformed image gains strength through the radicalization of the process which progresses from manual drawing to mechanical reproduction. This experiment stands at the limit of this most contemporary field and leads the viewer to re-examine the image’s inner nature; the choreography of its pictorial elements gives it a new status as the dancing parts of the painted image become a photograph in its own original genre. ~ Extract : Artist Statement
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‘Crushed Can & Scratchboard’
Photograph
34 X 26 in
1992
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‘Necker Shelves’
Photograph
34 X 26 in
1993
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‘Web 1′
Photograph
16 X 20 in
1988
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‘Web 2′
Photograph
16 X 20 in
1987
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‘Branch’
Photograph
16 X 20 in
1987
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‘Head’
Photograph
16 X 20 in
1987
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‘Teapot and Ball’
Photograph
16 X 20 in
1986
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‘Letter Rack’
Photograph
16 X 20 in
1986
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Since the late 1970′s Zeke Berman has been making singular, studio-based photographs. These works reflect his long standing interest in visual cognition, optics and the intersection between sculpture, photography and drawing. The formal range of his work, and his sculptural use of materials can be varied, original and idiosyncratic… – [Extract : Zeke Berman Website - Introduction]
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I’m exploring the boundaries between art and poetry in these intimate papiers colles composed of bits of lettering and the empty spaces between. Stripped of literary meaning, they rely on composition, rhythm and visual movement to convey their meaning which is ambiguous and intuitive. These works are constructed from distressed street posters and billboards that have been edited into inlayed bits of printed matter creating passages that move from figure to ground and then reverse back to figure through gentle curves, irregular grids and subtle shading. Snippets of lettering almost become recognizable letters or perhaps proposals for a new poetic alphabet but always slip back into forms and spaces to create possibilities of enigmatic and open, simultaneously plausible interpretations. [CT]
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Fusion Series #2669
Collage on Paper
8 x 6 in
2009
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Fusion Series #2695
Collage on Paper
5 x 4 in
2009
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Fusion Series #2696
Collage on Paper
5 x 4 in
2009
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Fusion Series #2694
Collage on Paper
5 x 4 in
2009
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Fusion Series #2693
Collage on Paper
5 x 4 in
2009
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Fusion Series #2692
Collage on Paper
5 x 4 in
2009
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Fusion Series #2691
Collage on Paper
5 x 4 in
2009
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Fusion Series #2690
Collage on Paper
5 x 4 in
2009
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Touchon’s work is a selection of collaged, acrylic paintings on either canvas or paper. There are several works from his Fusion Series, which present simple geometric shapes simply arranged, within illusionistic frames [framing devices]. There are overlapping rectangles, with rounded wedges that resemble irregularly cut pie sections. Occasionally he inserts bits of paper, spattered with Hebrew script or musical notations. Sometimes he paints paper then cuts out shapes. Other times, collage is in the form of paper applied to the surface, then painted over with solid color, so there is a ghost of a collage.
Most of these works contrast small areas of bright hue with overall neutrally colored surroundings. What is clear is the extent to which Cecil Touchon is in love with a formalism that, way back when, was loaded with revolutionary significance. That he does not think that those early experiments in pure shape and color have been improved upon at all is evident in the way he uses the motifs, and in the way he has antiqued them artificially with pencil shading and other means to make individual elements and the overall compositions into found artifacts…” ~ [Extract : Janet Tyson - Fort Worth Star-Telegram]
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