Posts Tagged ‘prints

23
Jul
13

Azurebumble : ‘Green on Blue’ Series (Digital Artworks)

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A series of digitally enhanced urban photographs

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green on blue 6

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‘green on blue’ series
digital graphic
azurebumble
2013
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green on blue 1

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‘green on blue’ series
digital graphic
azurebumble
2013
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green on blue 3

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‘green on blue’ series
digital graphic
azurebumble
2013
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green on blue 5

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‘green on blue’ series
digital graphic
azurebumble
2013
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green on blue 2

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‘green on blue’ series
digital graphic
azurebumble
2013
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green on blue 4

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‘green on blue’ series
digital graphic
azurebumble
2013
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Azurebumble :: Ipernity

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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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16
Feb
12

Nick Relph : Giclee Prints

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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Giclee print
indigo dyed wooden frame
31.7 x 42.4 x 4 cm
2011
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Nick Relph : Standard (Oslo)

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13
Feb
12

Masanari Murai : ‘Lithographs’

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‘Three Faces’
lithograph on paper
65.7 x 50.5 cm
1958
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‘Mother and Child’
lithograph on paper
51 x 38 cm
1956
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‘Singing’
lithograph on paper
64 x 45.7 cm
1956
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‘Collection of Japanese Lithographs’
lithograph on paper
45 x 64 cm
1954/56
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‘Girl’
lithograph on paper
63.5 x 45.2 cm
1957
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‘Man’
lithograph on paper
54 x 39 cm
1956
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Masanari Murai graduated from university in 1928 and almost immediately left for France with the intention of further developing his skills as a landscape painter. In Paris, the impact of direct contact with abstract art was such that Murai began to simplify his landscapes, exploring his own approach to abstract painting. After returning to Japan in 1932, Murai became one of Japan’s pioneers in the area of abstract art; he was a leader in its promotion, exhibition and education. It was Murai’s dying wish that the bulk of his works be entrusted to the Setagaya Art Museum, although some donations were also made to The Museums of Modern Art in Tokyo and Kyoto. [Ext : Masanari Murai Memorial Museum of Art]

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Masanari Murai : More Works

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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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16
Jan
12

Nathan Oliveira : ‘Edgar Allan Poe porfolio’ (Lithographs)

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‘Edgar Allan Poe V’
Nathan Oliveira
Lithograph
1971
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‘Edgar Allan Poe VII’
Nathan Oliveira
Lithograph
1971
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‘Edgar Allan Poe I’
Nathan Oliveira
Lithograph
1971
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‘Edgar Allan Poe III’
Nathan Oliveira
Lithograph
1971
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‘Edgar Allan Poe II’
Nathan Oliveira
Lithograph
1971
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‘Edgar Allan Poe VI’
Nathan Oliveira
Lithograph
1971
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Nathan Oliveira : Smithsonian Institution

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By Azurebumble

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