Posts Tagged ‘perception

16
Aug
12

Andreas Gefeller : The Japan Series (Photography)

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“Poles 41”
Inkjetprint
100 x 100 cm
2010
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“Poles 44”
Inkjetprint
100 x 100 cm
2010
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“Poles 30”
Inkjetprint
100 x 100 cm
2010
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“Poles 45”
Inkjetprint
100 x 100 cm
2010
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“Poles 39”
Inkjetprint
100 x 100 cm
2010
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“Poles 32”
Inkjetprint
100 x 100 cm
2010
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“Poles 31”
Inkjetprint
100 x 100 cm
2010
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Sensitizing and expanding our perception of what is allegedly a familiar reality is the attitude Düsseldorf-based photographer Andreas Gefeller adopts in his work. His most recent photographs are clearly more formal and structural, and they exhibit striking pictorial qualities. The Japan Series originated on the occasion of the European Eyes on Japan project, within the scope of which European photographers are invited each year to capture their impressions of this Far Eastern country on film. Gefeller takes at least two shots of utility poles vertically from below. In the subsequent digital composite the poles disappear, and the innumerable cables and transformers are converted into an abstract composition against a monochrome background. The absence of points of reference and orientation in these works opens up a new perspective on familiar situations. – [ Extract : Hatje Cantz]

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Andreas Gefeller : Website

More Works From Series

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27
Jul
12

Jeremy Blake : Artworks

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“silent symmetry”
jeremy blake
2012
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“industrial prose”
jeremy blake
2012
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“industrial prose #3”
jeremy blake
2012
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“rusted reflection”
jeremy blake
2012
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“mare”
jeremy blake
2012
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“lost legend”
jeremy blake
2012
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Rhythm can be experienced both aurally and visually, and I am intrigued by this notion of visual cadence. This body of work represents a personal synthesis of these principles. The forms and tonalities in the final images are my rendering of the effects I undergo when translating these minor and major chords. I equate the emotional attributes of these chords with a subdued yet inflective element of a unified sequence. It is the evasive and ever changing element of rhythm that fascinates me, and the work is my interpretation of this delicate balance between harmony and discord: capturing the moment which causes refrain, the pause of introspection, in which the rhythms are viewed through individual terms. When viewed on a fundamental level, rhythm is innate. Specifically, when one contemplates the function of rhythm in such acts as breathing, the blinking of the eyes and the beating of the heart. In essence, the experience of rhythm is an intrinsic aspect in the experience of life. It is through the questioning and exploration of this concept that I arrived at the notion of visual cadence. This body of work is meant to explore the kaleidoscopic nature of perception where terms such as wrong or right do not apply for perception itself changes as much as the individual. ~ [Artist Statement]

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Jeremy Blake : Website

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27
Apr
12

Charlotte Thoemmes : Photography

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We all may share the same sensual image of the environment. What we perceive, feel, and
reflect upon, however, may be as unique as every single person… ~ Charlotte Thoemmes

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‘White Doves for Sale’ Series
Charlotte Thoemmes
Photograph
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‘The Journey’ Series
Charlotte Thoemmes
Photograph
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‘White Doves for Sale’ Series
Charlotte Thoemmes
Photograph
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‘White Doves for Sale’ Series
Charlotte Thoemmes
Photograph
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‘The Journey’ Series
Charlotte Thoemmes
Photograph
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‘In Between’ Series
Charlotte Thoemmes
Photograph
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Natural environments and urbanized areas inspire my images, in which I present questions that range from identity to mortality. In my imagery, I attempt to explore places where a dialog emerges between the inner world of people and the environment . There I intuitively create my dream-like visions, make the unseen apparent, paint with light and shadow. In my images I’m not trying to frame my own subjective construction of reality, but rather try to animate the recipient to question their own perception. I want my images to provide a space where the viewers can project their own associations.

Experimental working techniques, either in-camera or in the darkroom often lead me to push the boundaries of photography. I create images with multiple exposures and selective haziness to capture feelings of loss and transformation through time. By painting on the light-sensitive paper or directly on the negative I create additional layers that were unseen by my eye, but felt emotionally. Photography provides possibilities to capture memories of the physical and the emotional state of people and places.

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Charlotte Thoemmes : Website

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15
Apr
12

Matthew Gamber : ‘Any Colour You Like’ (Photography)

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‘3D Glasses’
Gelatin Silver Print
Matthew Gamber
2010
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‘Scotch Tape’
Gelatin Silver Print
Matthew Gamber
2010
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‘Farnsworth Munsell 100 Hue Test’
Gelatin Silver Print
Matthew Gamber
2010
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‘A Color Notation and Interaction of Color’
Gelatin Silver Print
Matthew Gamber
2010
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‘Floral Pattern Wallpaper’
Gelatin Silver Print
Matthew Gamber
2010
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‘Ishihara Test in Light-Brite’
Gelatin Silver Print
Matthew Gamber
2010
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‘Munsell Color Tree’
Gelatin Silver Print
Matthew Gamber
2010
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“I once had a student who wouldn’t participate in any class discussions on color photography. However, I knew he was an excellent student based on his other classes. Later, I discovered he was colorblind. Talking about color was meaningless to him. The photographs in Any Color You Like are an experiment in how photography can confuse our perception of information. These images represent objects whose primary function is to simulate our observation of color. When these items are rendered in a black and white format, the information remaining is merely an abstraction of its previous form.” MG

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Matthew Gamber : Website

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22
Feb
12

Roberta Vilić : Paintings

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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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‘Untitled’
Roberta Vilic
Painting
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Works of Roberta Vilić act as “fields of memory (reminiscence)“- they are places of intimate, symbolical exchange, where private perception transforms into a visual code. “The work itself is a screen of the authors interior“, wrote Janja Feric for the occasion of Roberta Vilic’s exhibition in gallery Galežnica end 2002. Evocational character of the matter transforms the painting surface into a suggestive field. In the tactile game of associations, from structure of the matter itself rise or disperse diagrams and traces. Leaving an imprint of time eroded walls and evocate a metaphorical picture of passing of time.

Moreover, Roberta’s works constitute researches of space and surface/plane, structure, matter, and material. These are abstract compositions of reduced coloring, summarized to approbation of patterns of monochrome surfaces, grey, black or white, they are close to minimalism, and they address void and surface as central figures, activating the relation between positive and negative. On the surface of the painting, layer closest to the observer, one can sense words or letters as the only reference to the world of externality, and which in subsequent elaborations and research loses its narrative character by becoming an unobtrusive symbol, and by adopting abstract character of the sign. During this sublimation process a shift is apparent, deep ponderation, which results with cumulative sense of easement of the structure, its purification and appeasement.

The new works are produced in the continuity of the author’s expression, certain form-content patterns, and visible close communication with the heritage of informell. In time we find revelations and researches of a technical nature. Alongside parts of text and letters, cuts, scratches, ruptures and gaps appear as peer elements. The author addresses them as one does a graphical matrix. These are all messages inserted in the matter and contribute its expressive power and re-evaluation of our comprehension of elementary world of matter. Without evocating objective signs and symbols by principle of tautology. By conceptualization of reduction and recurrence methods, in almost monotone repetitiveness rhythm and change are bought by minimal and discreet shifts which emphasize uniqueness of multi-layered structure of each individual work. – Extract: Branka Benčić – Marisall Gallery

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Roberta Vilić : Marisall Galerija

Roberta Vilić : More Works

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01
Feb
12

Jessica Houston : ‘The Times’ Series (Paintings)

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“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

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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2007
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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‘The Times’
Oil and Pencil on Newspaper
12″ x 16″ Wood Panel
2008
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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]

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Jessica Houston : Website

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