Posts Tagged ‘division

10
Nov
11

Fernandoprats : Photography

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Yes, I like watching and I watch

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Fernandoprats
‘Yes, I like watching and I watch’
Part of “Instant compositions instants” series.
2010
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Right sense/s

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Fernandoprats
‘Right sense/s’
Part of “Barceloning” series.
2010
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through an abbreviated dictionary

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Fernandoprats
‘through an abbreviated dictionary’
Part of “Instant compositions instants” series.
2010
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I waited for you

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Fernandoprats
‘I waited for you’
Part of “Álbum sin nombre” series.
2011
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Mushrooms that spring with the thaw in winter

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Fernandoprats
‘Mushrooms that spring with the thaw in winter’
Part of “Organics are strange animals, never ending {¿^}” series.
2011
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Seen in Alicante, yes, please, like this

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Fernandoprats
‘Seen in Alicante, yes, please, like this’
Part of “Seening” series.
2011
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Some look green four times a week, at least
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Fernandoprats
‘Some look green four times a week, at least’
Part of “Elegance, please… monsters” series.
2011
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This particular sequence is constructed from numerous different series of ‘FotoWorks’ by Fernando. Therefore, I would encourage anyone who is intrigued by these marvelous works to click on each individual image to view texts & tags. This will resignify the speech of each image and each series, allowing for a better understanding of context and a further appreciation of the artists original intent.

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Website

More Works

Y Sin Embargo Magazine

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18
Oct
10

Naoya Hatakeyama : Blast Series

Blast 5414
C-Print
38 x 57 cm
1995-99

Blast 5415
C-Print
38 x 57 cm
1995-99

Blast 5416
C-Print
38 x 57 cm
1995-99

Blast 5417
C-Print
38 x 57 cm
1995-99

Blast 5418
C-Print
38 x 57 cm
1995-99

Blast 5419
C-Print
38 x 57 cm
1995-99

Japanese photographer ‘Naoya Hatakeyama’ has been working for a number of years in limestone quarries capturing a series of explosions. Taken with a remote controlled camera set up meters from the explosions, these high speed images explore the total arrest of dynamic movement.

The “Blast” series was worked on in 1995 and completed in 1999. It had been preceded by “Underground (tunnel series)” and “Underground (details series)”, both collections unearthed the secret layout beneath Tokyo streets. Although reflecting distinctive experiences, they all refer to a unique experience, with the unique character of the configuration and the movement being captured with the lens. The material conditions of the explosion are separation, division, and detachment. Unity is preceded by multiplicity.

Because he is unable to control or foresee the composition of the final picture, Hatakeyama’s photographs are powerful metaphors of modernity, technological images in which destruction and construction occur in the same instant. Here, the act of creation occurs in a simultaneous time and space as the explosion. [Extract : Valerie Portefaix : Published in Tofu#3]

Naoya Hatakeyama : L.A. Galerie : Works




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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