Posts Tagged ‘layers

15
Aug
12

Luis Mallo : ‘In Camera’ Series (Photography)

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“No 15”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 24”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 22”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 10”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 3”
Luis Mallo
‘In Camera’ Series
2001-2
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“No 19”
Luis Mallo
‘In Camera’ Series
2001-2
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Luis Mallo’s large-scale urban landscapes (most made in his Brooklyn neighborhood) are cleverly realized perceptual puzzles. In each photo, chicken wire, slats, net or fencing of some sort occupies the picture’s foreground, interrupting but not entirely obscuring our view of the factory, parking lot or construction site beyond. Like a curious passerby, our eye is drawn to the open spaces and tears in these heavy-duty scrims, and Mallo invites us to fill in the entire landscape based on the strips and swatches we see. Both thwarting and redirecting our vision, the work is as perverse as it is engaging.

[Review by Vince Aletti, 2003]

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Luis Mallo : Website

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28
Feb
12

F.X. Combes : ‘Building Series’ (Screen Capture Photographs)

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The portrayal of urban space is at the heart of FX Combes’ work. His series ‘Buildings’, continues along these lines. How do you portray the City? The City in its ultimate truth, bare, naked. According to the artist, by starting with the ordinariness of the basic building in mind. With the most traditional vision, the least cluttered possible, of a building garnered in a few basic lines. Then, this ordinariness is reorganized, structured, given shape and colour, assigned order, rhythm and meaning, and restored in the layers of a fixed time – past, present, and future piled together. In a way that the urban concept in itself emerges from the raw material; The purest, and most refined City from the concrete building…

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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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‘untitled – buildings series’
inkjet print on textured paper
140 x 120 cm
2009
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In practice, F.X. Combes begins by taking photos of buildings, that he then photographs again through the screen of his computer, in order to attain the desired distance between what is real and what is suggested without using photo retouching software. In this way, he obtains a series of nearly identical pictures of the same pattern, nearly being the key word. These successive screen captures create each time micro differences in shape, the tiniest shifts in light. And, as a result, there are so many occurrences of the unpredictable that the artist then takes great care to systematize either through a process of multiplication – juxtaposition of the images (the horizontal series) or through a process of reconstruction using a fragment, an imaginary building or an ideal City (the vertical series).

Actually, what is the building really behind its undecipherable facade, its impenetrable walls and blind windows? What is the City in its intimate nature and beyond its immediate materialisation? Originally it was the foremost human meeting place. Man built the city to live there, to thrive and prosper there. But in its arrogant proliferation the city ended up rejecting man into an anonymity that is a form of denial. The realisation of this presence/absence of man in the city that he himself made is one of the issues that is at stake in these images. The City according to FX Combes is most certainly an inhabited place but by a being who, after having left a sign of his time spent there, finds himself from then on in the process of fading out completely.

This bluish trembling, this nearly vibrating halo that enshrouds the buildings rising into their metaphysical sky – each of these effects is evidence of this gradual disappearance, this evanescence in progress. The succession of layers of the present and of past generations who lived there is still visible, virtually through chance circumstances that are less and less discernible, but the City has already transformed into another condition of its own location. Beyond the man who made it, the City remains and endures, and pulls itself up to the pinnacle of its definitive self. The City approaches more and more surely the ideal of Platonism. Underneath the deceptive ordinariness of buildings, the fundamental archetype is revealed. – [Extract : from press release by Vincent Gracy – NextLevel Galerie]

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F.X. Combes : Website

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04
Feb
12

Mary Christiansen : ‘Multi Plate Etchings’ (Prints)

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‘Himmerland’
multi-plate etching
107 x 107 cm
2008
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‘Untitled 2’
multi-plate etching
16.5 x 18.5 cm
2008
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‘Shadow line’
multi-plate etching
15.5 x 16.5 cm
2008
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‘Tilt’
multi-plate etching
19.5 x 20 cm
2008
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‘Untitled’
multi-plate etching
18 x 20 cm
2007
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‘Untitled’
multi-plate etching
15.5 x 17 cm
2007
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My pre-occupation as an artist is with creating highly distilled, contemplative nuances of feeling in print. I aim to compose images – drawn from nature and memory – of stark yet tactile forms, held momentarily out of balance; forms disappearing into immaterial shadows and configurations of form in spatial settings, undergoing transformation. I’m fascinated by forms appearing like projections onto surfaces, fragile and immaterial articulations, punctuated by the interplay of light and shade. Re-discovering delicate forms in space at distances defined by rhythm and structure, are of interest to me.

My objective is to create a state of suspension of individual elements, caught in a complex of layers with deceptive simplicity. The creation of these images is intuitive in nature. The creative process is ongoing, with every intuition, reflection and configuration, pre-figuring another possibility. The printing process is an integral part of my working process. The separation and building up of layers, multiple overprinting, the use of inks of differing viscosities – these modifications inform the work as it evolves. The tactile qualities of print-making, the depth and richness of surface, are crucial. – [Artists Statement]

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Mary Christiansen : Hughson Gallery

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18
Dec
11

Julien Legrand : Street Photography

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Self

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‘Self’
Julien Legrand
Photograph
2010
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‘Untitled’
Julien Legrand
Photograph
2010
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‘Untitled’
Julien Legrand
Photograph
2010
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‘Untitled’
Julien Legrand
Photograph
2010
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‘Untitled’
Julien Legrand
Photograph
2010
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Self

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‘Self’
Julien Legrand
Photograph
2010
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“For several years, I’ve spent most of my free time wandering in the streets and watching what is happening around me, camera in hand, ready to shoot. What is interesting to me is the unscripted nature of everyday life, often more poetic than it appears when seen in a way.

I do not have any aim, I take what the chance gives to me. I have always been more drawn to black and white. I like its out of time feeling and its distilled essence… “ – Julien Legrand

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Julien Legrand : Flickr

Julien Legrand : Website

Julien Legrand : Street Photographers

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17
Oct
11

Michelle Mackey : Paintings

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“I’m currently working in black and white, on black, shiny, resin-coated panels.
Not unlike a hologram, the viewer must move around the surface, so the spatial
depth will be revealed. I am exploring what memory looks like – memory of place.”

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‘Keys’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Dénouement’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Trefoil’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘In the Hollow’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Leap’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Intermezzo’
acrylic and enamel
on resin-coated panel
47″ x 47″

‘Duality’
acrylic and enamel
on resin-coated panel
47″ x 47″

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In the mind, individuals have a stockpile of images and feelings that merge undaunted by time and space separation. As I walk to the train, I smell the scent of the dogwood blossoms in the crisp morning air; the fresh smell immediately brings me to the front yard of my grandparents house, full of the voices, sounds, and colors so familiar. Likewise, in a painting, the coalescence of different images and actions on one planar surface confounds time, space, and sequence. Layers of images and ideas from different sources co-exist in paint; the associations brought into dialogue with each viewing become a part of the piece. What causes a particular memory (such as my grandparent memory) at a particular time and not at other times is beyond complete explanation; yet, it is not beyond understanding. Sensory understanding exists through experience, not through the medium of words.

The images in my paintings are mainly from the physical structures in my environment. I look at the surface mix of cracked mortar, shiny metal, peeling paint, and rusty scaffolds; I hear the rhythmic distance from chimney to chimney, branch to branch, and window to window; I think of the structural soundness of repetition, from the frame to the brick. As I work, I periodically refer back to these environmental sources, as well as conversations, books, music, patterns and other sources for ideas on color, form, and composition. The story of my process is embedded in layers of paint (layers of choices) visible on the canvas: a trail of past decisions shutting off certain paths to allow other possibilities. I’m searching, tweaking, scratching, both my mind and the image on the canvas, to uncover what I am really seeing and the process of how I see. On my microcosmic-level, I am looking into a larger system beyond the individual. I do not believe in chance or events without purpose, so I do feel that my search will reveal certain truths or aspects of a larger truth. [artist statement]

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Michelle Mackey : Website

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03
Feb
11

Marc Marquez : “LOT” Series (Photography)

Untitled
“LOT” series
photograph
2007/08

Untitled
“LOT” series
photograph
2007/08

Untitled
“LOT” series
photograph
2007/08

Untitled
“LOT” series
photograph
2007/08

Untitled
“LOT” series
photograph
2007/08

Untitled
“LOT” series
photograph
2007/08

When one considers these photographs by Marc Marquez, it’s as if one’s skin has been removed. We see very sparse rooms, we not only see, but we can almost feel the coldness and the roughness of such places. These images were taken in the housing estates of the former GDR, where such blocks were provided under an “Urban Redevelopment Plan” and were scheduled for demolition in 2009.

Marc Marquez himself grew up in one of these houses, and it was he himself who stripped the interiors of any traces of carpet or wallpaper remnants. […] The photographer took his shots at night, consequently the darkness seems to invade the interior of the room, perhaps as an allusion to the ‘black square’ in the painting by Kasimir Malevich. [Extract : “Dead Eyes Open” by Prof. Anna Zika)

Marc Marquez : “LOT”




Ai : Series : Photography Book

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