Posts Tagged ‘london

06
Jan
12

William Eckersley : “Dark City” Series (Night Photography)

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Initially inspired by the stillness of London at night, photographer William Eckersley began experimenting in late 2007 and after four years of stunning large format photography, he’s published a book of these works called ‘Dark City’ which promise a compelling view of unseen London. –  view here

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‘Factory, Tree And Moon Behind Silhouette, RM9’
(c-type print / 2010)
“Dark City” Series
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‘Spotlit Steps From Fire Exit, SE1’
(c-type print / 2008)
“Dark City” Series
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‘Trolleys In Car Park, CR0’
(c-type print / 2010)
“Dark City” Series
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‘Bridge Over Canal, E15’
(c-type print / 2009)
“Dark City” Series
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‘Bend In Pedestrian Tunnel, SE1’
(c-type print / 2008)
“Dark City” Series
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‘Shopping Arcade, SE1’
(c-type print / 2008)
“Dark City” Series
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‘Lake And Four Housing Blocks, SE2’
(c-type print / 2010)
“Dark City” Series
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At night, a once flat world illuminated by dull, grey daylight is transformed under the cloak of darkness. Garish spotlighting casts deep shadows and silhouettes, with hues of pink, cyan and orange. The stage is devoid of its human players and seems to showcase the scenery’s forgotten beauty, revealing a stark and otherworldly aesthetic in a city drained of its occupants. The built environment, deliberately contrived to service the needs and desires of humanity, makes sense in the context of teeming human life – without this however, its inherent functionality no longer visible, our urban spaces appeared to stand forlorn, waiting to be judged on their genius or folly, beauty or ugliness… [Extract : Stucco Press]

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William Eckersley : Stucco Press

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21
Sep
11

Y SIN EMBARGO magazine Last/s, #29 (new! published!)

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If communicating means to put something in common, is it possible, today, at the height of

the era of communication, putting something in common? Or all we got are monologues?

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Y SIN EMBARGO magazine Last/s, #29 (new! published!)

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ON PAPER / READ ONLINE

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About this issue………Seven years of a periodical and independent publication is perhaps both necessary and long enough a time to verify or put into practice a set of ideas, wishes and adventures.

YSE closes a cycle, but doesn’t close (neither literally nor metaforically). New situations, new circumstances and, most of all, new wishes and interests consume and demand the always limited well of time and energy. We have grown in this seven years without any kind of sponsoring, there was never a financial support or even modest underpinnings to give any logic of survival to the publication.

Everything has been done on breathhold, in a respiratory exercise, at times painful, even if oxygen (of course intangible) always managed to be there in the end. Nevertheless these are times of generalised asphyxia and sometimes – even though nostalgia or stubbornness exert their seduction- it is necessary to dry dock the boat, caulk and face different courses. We will go on…….but we will be other.

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edit, direc & comple by fernandoprats

art direc & desig by Estudi Prats

virtual soport by Rivera Valdez

biotranslations by Alicia Pallas

video by Raquel Barrera Sutorra

music by Albert Jordà / Nevus project

almostopen_by manuel alcaide mengual

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from

roman aixendri manuel alcaide mengual brancolina wilma eras oriol espinal ezook rosa delia guerrero manuel diumenjó h.o. kozology françoise lucas juan pablo sáenz graciela oses alicia pallas carlos pataca leonie polah fernandoprats miguel ruibal nirvana sq jef safi alain vaissiere dou_ble_you azure_b

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from

a coruña, amsterdam, antwerp, barcelona, bielefeld, buenos aires, campredó, dundee, grenoble irapuato london, mar del plata, méxico d.f. nijmegen seattle sevilla tarragona terrassa toronto toulouse

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Thanks to all those who have been reading and watching.
Thanks to all those who take and took part.
You’ll be hearing from us.

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ON PAPER / READ ONLINE

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22
Mar
11

Y SIN EMBARGO magazine #27 : in-significant

Y SIN EMBARGO magazine #27, in-significant (new!, free, independent)

Y SIN EMBARGO magazine #27, in-significant (new!, free, independent)

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READ ONLINE

ON PAPER

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(sh)

in-significant

Not even things but the discourse on things.

Not even interaction with the object but just with the discourse on the object.

Absence of significance in an Empire of signifiers.

Rhetorical update: Surfer discourse not defending any stance, just suspecting.

Bottomless surfer, dissections by a forensic surgeon of the senses.

Sublimation of languages?

Apocalyptic deconstruction?

Waste management at the end of the game?

What do we speak about when we speak? What do we refer to?

Do you know what I’m talking about?

The medium turned into massage.

When the message from the medium is just the massage of discourse.

Massive addiction to the daily soma of a “renewed” discourse, a distracting one, without consequences or content, paradigmatic on mass-media and social networks.

Words and things.

What names and is named, cultural conventions, significance-signifier-jingle-label.

Channel as the bearer of uncontrollable noise.

At a higher level every day (as this formula is understood in programming) and further from objects and phenomena?

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edit(ing), direct(ing) & complements_
fernando prats

art direct(ing) & design(ing)_
estudi prats

colacao & ordenaciones_
rivera valdez

biotranslat(ing) & reflejos_
alicia pallas

(h)original music_
albert jordà / nevus project

(h)original video_
raquel barrera sutorra

front cover(ing) index_ players

open(ing) in-troduction_ alain vaissiere

clos(ing) macbeth_ leonie polah

back(c)over(ing) discourse_ thomas hagström

…from

roman aixendri
azurebumble
hernán dardes
manuel diumenjó
wilma eras
oriol espinal
ezook
thomas hagström
h.o.
kozology
françoise lucas
jorge montecof
graciela oses
alicia pallas
leonie polah
fernando prats
beatriz giovanna ramírez
miguel ruibal
juan pablo sáenz
jef safi
nirvana sq
alain vaissiere
susan wolff
dou_ble_you

18
Feb
11

Krystina Stimakovits : Photography

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“In between the: opaque – transparent, strange – familiar, abstract – representational.”

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krystina stimakovits
photograph
2009

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krystina stimakovits
photograph
2010

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krystina stimakovits
photograph
2009

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krystina stimakovits
photograph
2010

EssexRd1709

krystina stimakovits
photograph
2010

SITE_2702_0784

krystina stimakovits
photograph
2010

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statement

A quote from Gary Winogrand has lodged itself indelibly in my mind: “There is nothing as mysterious as a fact clearly described”. It is this seemingly contradictory combination of mystery and fact that keeps me searching from the corners of my eye. My work however is not about documenting locations or any particular subjects / objects found in them, rather I am drawn to a de-contextualized world, to fragments of reality where particular forms, light and the body language of materials may combine to stir both senses and psyche.

My approach is that of a gatherer rather than a hunter: eyes open to chance encounters, mind alert to the surrounds. And like gatherers I favour places and conditions that have proven fertile harvesting grounds: work sites, industrial parks, ’empty’ windows of shops / storefronts that are undergoing refurbishment, back alleys. Here space dividing structures of glass, mesh and other materials abound. These act as thresholds between visual fields, simultaneously hiding and revealing realities that lie behind and in-between. On the picture plane, complex fusions dissolve into shapes and gestures, a meditation.

With my projects I work like a cook who invents meals around the best produce found in that season, allowing myself to be guided by experience and imagination rather than the prescriptions of a recipe or plan. Unlike many contemporary art photographers, I do not invent the scene nor significantly alter my images. To me the power and resonance of a photograph lies in the fact that it was plucked from the real world, that someone’s psyche interacted with and interpreted a particular piece of reality at a unique and inspired moment. The metamorphosis that constitutes a photograph is what continues to captivate and inspire me.

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krystina stimakovits : website

‘thresholds’ : photography book

krystina stimakovits : more works

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16
Dec
10

Brancolina : Photography

24062010 13:05‘24062010 13:05’
published in ‘Window Stories
photo book
2010

reiss‘reiss’
Urban Geometry‘ series
photograph
2010

‘on the way’
published in ‘Abstracted Architecture
photo book
2009

Wednesday morning
Urban Geometry‘ series
photograph
2009

backyard story #3‘backyard story #3’
Urban Geometry‘ series
photograph
2010

ceci n'est pas une banane‘ceci n’est pas une banane’
Postcards from London‘ series
photograph
2010

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Brancolina : Window Stories

Brancolina : Blog (it is what it is)

Brancolina : Abstracted Architecture

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A selection of Brancolinas’ photos along with an interview is published in an article about abstract
architecture from nr.8 issue of the Ukraine’s ‘Photographer’ magazine (p. 44-45, 46-47 and 48-49).

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1. How do you symbolize architecture according to your inner vision and your philosophy ?

Architecture is the art of creating a space that acts like a shelter for various human activities, if it’s designed perfectly it looks like an inhibited sculpture. I like to associate architecture with music: the architect “composes” with building materials the material space, while the composer “constructs” the audio space by using sound vibrations, they both use rhythm as the base for their creations. Pythagoras said: “There is geometry in the humming of the strings, there is music in the spacing of the spheres.”

2. Why do you think people like these kind of geometric abstractions? Is it coming from men’s original subconscious images of achievable perfection ?

I suppose people like to create images with perfected geometric order because the man’s mind is always striving to organize naturally chaotic reality. However, this so called ‘perfection’ needs to be spiced up with a little bit of imperfection to look attractive.

3. An architect must be a very logical person, mathematically calculating each of his pencil strokes when making a draft, thinking about functionality, practicality and the rest of all those features which would tag a person with a materialist’s label. Here comes the photographer, a modern artist, mystic by his nature and starts “humanizing” that building. With this in mind can we name architectural photographers sort of our spiritual savors with narrow specialization? What do you think about this?

To fully understand and experience the building we must get in direct contact with it and feel it from various points of view, in the same way like somebody is viewing a sculpture. Architectural photographer is essentially expressing only his feelings about the building. His impression helps the viewer to get an idea about the structure, but it is not showing it in the same faithfull and accurate way as the plan. Photography portrays and communicates an atmospheric quality for the architecture. It promotes a feeling rather than the factual formal reality, it makes an artistic impression. The atmosphere or feel of a building is very much a sensory reality and it has a perception from the man’s perspective.

Full Interview (Questions 1 – 12) : published in ‘Photographer’ magazine nr.8

19
Nov
10

Dryden Goodwin : “Caul” (Photography + Digital Drawings)

Portraits of strangers captured by the artist as he has travelled through London.

‘Caul’ 6
diptych
digital drawing
2008

‘Caul’ 7
diptych
digital drawing
2008

‘Caul’ 3
diptych
digital drawing
2008

‘Caul’ 4
diptych
digital drawing
2008

‘Caul’ 2
diptych
digital drawing
2008

In the exhibition “Cast” (2008) Dryden Goodwin presented five new series of works – Cradle, Shapeshifter, Casting, Caul and Rock. Each series featured portraits of strangers captured by the artist as he has travelled through London. The title “Cast” suggests a plurality of meanings, all of which have resonances with the work, from casting a line to casting light or shadow, from casting a film role to casting a sculpture, from casting suspicion to casting a spell.

All the works combined drawing with photography in a range of ways. As Goodwin described: “…drawing as touch is central. I find it compelling the idea of a drawn mark being a kind of contact between artist and subject, between one individual and another…drawing is a way of thinking into the photograph…an ambiguous gesture, that can suggest both tenderness and hostility…”

In the series above; “Caul”, Goodwin draws into the photograph using a digital drawing tablet, the artist presses onto its membrane-like surface with a digital stylus, the more pressure he exerts the deeper and more luminous the line he draws. A ‘Caul’ is the name given to a portion of the amniotic sac that can be left over a child’s face at birth. In some cultures, the caul has demonic associations; more usually it is considered sign that the child is safeguarded, even bestowed with special powers. The title resonates with this association, reinforcing the visceral quality of the distinctive red lines that cover the faces of the people in the work, like blood vessels or raw tissue. [Extract : ‘Cast’ Exhibition (2008)]

Dryden Goodwin : Website

Dryden Goodwin : Cradle series




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