Posts Tagged ‘line

19
Dec
12

Jean Gaumy : “Polaroids” Series (Photography)

::

“Taking pictures is like fishing or writing. It’s getting out of the
unknown that which resists and refuses to come to light.” – Jean Gaumy

::

PAR62298

::
“Le Havre”
Jean Gaumy
Polaroid
1994
::

PAR62290

::
“Le Havre”
Jean Gaumy
Polaroid
1994
::

PAR62289

::
“Haute-Normandie”
Jean Gaumy
Polaroid
1994
::

PAR62288

::
“Le Havre”
Jean Gaumy
Polaroid
1994
::

PAR62301

::
“Le Havre”
Jean Gaumy
Polaroid
1994
::

PAR62291

::
“Le Havre”
Jean Gaumy
Polaroid
1994
::

PAR74978

::
“Le Havre”
Jean Gaumy
Polaroid
1994
::

PAR62292

::
“Le Havre”
Jean Gaumy
Polaroid
1994
::

PAR154535

::
“Le Havre”
Jean Gaumy
Polaroid
1995
::

Photographer Jean Gaumy invites us to discover another facet of his work on ports, which he has come to know very well over time, a set of polaroïds with poetic views of industrial zones of ‘Le Havre’ docks.

::

Jean Gaumy : Magnum Photos

Jean Gaumy : Full “Polaroids” Series

::

23
Jun
12

Ezra Stoller : Architectural Photography

::

::
Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
::

::
TWA Terminal, Eero Saarinen, New York
Gelatin Silver Print
16″ × 20″
1962
::

::
Seagram Building, Mies van der Rohe, New York
Gelatin Silver Print
16″ × 20″
1958
::

::
Guggenheim Museum, Frank Lloyd Wright, New York
Gelatin Silver Print
16″ × 20″
1959
::

::
Louis Isidore Kahn, Olivetti Underwood Factory, Harrisburg
Gelatin Silver Print
Ezra Stoller
1966-1970
::

::
Rare Book and Manuscript Library, Yale University
Gelatin Silver Print
16″ × 20″
1963
::

::
Milwaukee War Memorial, Eero Saarinen
Gelatin Silver Print
16″ × 20″
1952
::

Ezra Stoller’s gelatin silver prints include images of architectural interiors and iconic landmarks. Based on his background in architecture and industrial design, Stoller used a large-format camera to photograph monumental 20th century buildings, including the Guggenheim Museum, the TWA terminal at Idlewild Airport (now John F. Kennedy International Airport), the Seagram Building, the Salk Institute, Yale Art and Architecture Building and Fallingwater. In addition to well-known photographs of these locations, these works also include lesser-known photographs of small homes and guest houses which provide a fresh look at the masterful eye that established Stoller as the preeminent photographer of modern architecture. A pioneer in the field of architectural photography, Ezra Stoller was commissioned by architects such as Frank Lloyd Wright, Paul Rudolph, Eero Saarinen, I.M. Pei, Marcel Breuer and Richard Meier, because of his unique ability to capture the building according to the architect’s vision and to lock it into the architectural canon. His photographs convey a three-dimensional experience of architectural space through a two-dimensional medium, with careful attention to vantage point and lighting condition, as well as line, color, form and texture. – [Extract : Press Release – Yossi Milo Gallery]

::

Ezra Stoller : Yossi Milo Gallery

::

22
Mar
12

Pansa Sunavee : Photography

::

::
‘Alone in the city’
Pansa Sunavee
Photograph
2010
::

::
‘Dancing raindrop’
Pansa Sunavee
Photograph
2011
::

::
‘Pause’
Pansa Sunavee
Photograph
2012
::

::
‘Way of Yarn 4’
Pansa Sunavee
Photograph
2011
::

::
‘Roof’
Pansa Sunavee
Photograph
2010
::

::
‘Way of Yarn 7’
Pansa Sunavee
Photograph
2011
::

::
‘Circle label’
Pansa Sunavee
Photograph
2010
::

::
‘Chinese pharmacy’
Pansa Sunavee
Photograph
2010
::

::
‘Miss you mom’
Pansa Sunavee
Photograph
2010
::

Art, in my meaning.
is working with creative independent spiritual and by natural way.
I has never expected the thing till job finished.
That is also consciousness aware of present and feel relax.
Moreover; I can find, all the completed work,
the movement in placeful, the brightness in the dark and the harmony inconflict
which are changing state and stable state in the same time.

Whenever, the more I am trying to learn what it means, the worse I can understand.
However, I has given up to understand the meaning neglected myself, then I can get it.
Nevertheless, no word can be explained, the answer has been in my work.

………

For me, photography is just like a door conveying the aesthetics of art.
It is a kind of art created from the real situation around me which can happen every second.
Sometimes I seek for the beauty of things surrounded and then shoot them
with personal perspectives and feeling towards the objects or incidents.
Sometimes when I would like to forward my idea to the others,
I will bring and redesign all stuff with beauty and hidden message to the viewers of my photos.

In part of photography, I never focus on any preferred photography style
as I do not want to frame myself with specific kind of photo shooting
and be more loyal to my own feeling. When I am clear with myself,
the outcome is always marvelous.

Pansa Sunavee

::

Pansa Sunavee : More Works

Pansa Sunavee : Website

::

17
Mar
12

Eva Hild : ‘Ceramic Sculptures’

::

Influence, pressure, strain. These words have been the foundation for my current projects that comprise communicating the theme in large, hand-built clay forms. Delicate continuously flowing entities in thinbuilt clay. They reflect varying degrees of external and internal pressures, and how, as a consequence, perception of inner and outer space is changed or challenged.” ~ Eva Hild

::

::
‘Structure 3’
Ceramic Sculpture
Eva Hild
2007
::

::
‘Bound’
Ceramic Sculpture
Eva Hild
2010
::

::
‘Sinuous’
Ceramic Sculpture
Eva Hild
2010
::

::
‘Cohere’
Ceramic Sculpture
Eva Hild
2009
::

::
‘Untitled’
Ceramic Sculpture
Eva Hild
2006
::

::
‘Bulge’
Ceramic Sculpture
Eva Hild
2010
::

::
‘Untitled’
Ceramic Sculpture
Eva Hild
2010
::

::
‘Sprawl’
Ceramic Sculpture
Eva Hild
2010
::

Artist Statement

::

My sculptures are bodies, exposed to pressure and movements. On one hand, it is the mass in thin layers, running in a meander-like closed movement. On the other hand it is the empty space, air and light forming volumes, described by the contures of the mass. The construction is really made of the absent; the emptiness, the holes of air. The obvious body just defines the volume. My fascination is about the relationship between the internal and external realities; the dualism between inside and outside, content and form, feeling and shape, impression and expression. The shape consists of continuously flowing inner and outer surfaces, with one line running through the form. Inside turns outside and the loop gives the sculpture its uniformity and identity. The empty space is drawn into the form and becomes one with it; the air fills the cavities.

It is a reflection of my inner landscapes of form. Everyday, I experience the tension between presence and absence. The anxiety I feel is both constructive and destructive. My sculptures show me the necessity of opposites; they are paradoxes. Bodies where presence and absence meet. The clay is the prerequisite for creating space, and space is the prerequisite for the form of clay. Empty space as well as clay are my materials. I feel a great freedom in hand-building. It grows slowly, I have time to reflect, I can change direction, make connections and have a smooth surface with the same thickness. When the form is ready and the clay is dry, I sand away at the surface. The pieces are fired twice in stoneware temperature, around 1200°C and finally treated with silicate colour and pigments.” – [Texts]

::

Eva Hild : Website

::

02
Feb
12

JP King : ‘Hobbies in the New Kingdom’ Series (Collage)

::

‘Hobbies in the New Kingdom’ documents the activities of the various
characters in a forthcoming novella – ‘Cookie Crumbs Lead to Ovens’.

::

::
‘The Pants Sisters’
Paper on Paper
JP King
2010
::

::
‘Safe As Drinking Water’
Paper on Paper
JP King
2010
::

::
‘My Secret Trombone Song’
Paper on Paper
JP King
2010
::

::
‘When The Music Went Pink’
Paper on Paper
JP King
2009
::

::
‘Joshua Barndt’
Paper on Paper
JP King
2008
::

::
‘It Took a Lot of Energy to Make Wind’
Paper on Paper
JP King
2009
::

I work primarily in the mediums of collage, text, print-based multiples and occasionally with relational/installation-based projects. I focus heavily on story-telling techniques that attempt to unpack popular Canadian & American mythologies in whimsical and historically slippery ways. Seeing the collage original not as an end, but instead as a means to a final print, I often enlarge my works to make visible the delicacy of the paper and ink used in a specific era of source imagery. Through my digital process the original becomes an inexhaustible plate from which variable prints will be pulled.

In my collages, the grotesque and awkward gestures of the human body are emphasized through remixing body types, bits, features, and limbs, while seeking a beauty only found in discomfort. With nostalgia I hope to elicit unfolding family myths that can be recounted to a point of fiction. I use language as a painter uses a palette. I rely on absurdity to refrain from finger-pointing at what upsets me in the world. Humour becomes a practical device to deliver a softened sadness and emptiness that I know from wrestling with myself. In trying to understand my own masculinity, relationships, and fragmentary family unit, I’m carrying, and laying to rest, a few feelings around heroship and failure. [AS]

::

JP King : Website

::

01
Feb
12

Jessica Houston : ‘The Times’ Series (Paintings)

::

“My work is an investigation of ephemera and transformation of the everyday. I often use found materials that either reveal or subvert underlying formative principles. Whether I’m painting over newspapers, making installations from objects collected in the Arctic, intervening in public spaces, or inviting scientists to interact, I am driven by subtle shifts in perception and a rearrangement of form. I’m drawn to the fleeting experience that allows for impermanence, chance, unpredictability and tenuous stability. I’m looking for the possibility of revelation through simple means, a place and a moment where now. dissolves into always, and always into now.” – Jessica Houston : Artist Statement

::

::
‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2007
::

::
‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
::

::
‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
::

::
‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
::

::
‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
::

::
‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
::

Since 2006 I have been painting over newspapers adhered to wood panels – obliterating, whiting out, and rearranging the page. Working within the existing grid system to reveal and ultimately, undermine it, the act of painting echoes the ways in which the media selects, eliminates, and frames information. The paintings subvert and transform language, and create a new form made of line, mark, measure, and composition. In their multi-layered process of making these paintings become palimpsests, a place where chance and time collide. Alongside the trauma, beauty, and calamity of the everyday world, there is the possibility of silent observation. I also paint portraits of people from the newspaper. THis is largely a response to Susan Sontag’s ‘Regarding the Pain of Others’. I paint as a process of re-presenting the form, the information. In an era of information overload, painting offers a very different kind of response to the news, a human response, of the hand and the heart. – [Extract : J.H. Website]

::

Jessica Houston : Website

::




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

email address

Join 492 other followers