Posts Tagged ‘relationships

01
Aug
12

Aras Karimi : Photography Series

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“I was only 5 years old when light first grabbed my attention. I was sitting in a room by a window with shuttered heavy curtains, leaving only a small distance in between them, where a miracle was happening. Contrasting with the dark room a ray of light was brightening a narrow space, I could see the playful movement of dust in the air that was visible to me for the first time. I was mesmerized, not just for seeing the dust but for feeling something novel, powerful, and beautiful: – light.” ~ Aras Karimi

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‘untitled’
photograph
aras karimi
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‘untitled’
photograph
aras karimi
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‘untitled’
photograph
aras karimi
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‘untitled’
photograph
aras karimi
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‘untitled’
photograph
aras karimi
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‘untitled’
photograph
aras karimi
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‘untitled’
photograph
aras karimi
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‘untitled’
photograph
aras karimi
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Photography is a relationship between light and film: light as a playful actor and film as a serious recorder. A photographers job, experimental by nature, is to write the best scenario for this one-time instant play. A genuine play is inevitably the result of accurate eyes, free mind, and fundamentals of photography at heart. Light is the subject of my works. Unlike the usual process in photography that uses light as a mean to record a scene and tell its story, I’m interested in light as a story teller. In fact the scene in my works is the medium to picture light, its mood on different surfaces, and its personality in different spaces. My photographs are purposefully Untitled. I like to give a chance to the viewer to experience their own emotion while they’re coinciding with an expression of mine. It’s also unnatural to apply a rational meaning to something that is opposite from being a product of intellect as all of my works are pure reflections of my vision, and emotion at the moment the shot is taken.” Artist Statement

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Aras Karimi : Website

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27
Feb
12

Ronan Guillou : ‘Colour Photography’ ( Series 1 )

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‘Ready Made Series’
Ronan Guillou
C-Print
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‘Yippee Series’
Ronan Guillou
C-Print
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‘Intra Muros Series’
Ronan Guillou
C-Print
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‘Driven Series’
Ronan Guillou
C-Print
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‘Intra Muros Series’
Ronan Guillou
C-Print
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‘Driven Series’
Ronan Guillou
C-Print
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Catching places, cities, glances: Ronan Guillou translates his pleasure and desire for keeping traces of them during his walks. Cities, and the people who animate them, are the basis of his humanistic approach. Aside from his commercial campaigns, Guillou’s personal work records moments of ordinary life, where men and women are photographed during their daily routines in urban landscapes. Initially influenced by cinematic environments and the aesthetics of American cities, his work also extends to cities in Asia, Europe and South America. Without criticism, Guillou feels affection and empathy for his characters, giving the images a pictorialist and poetic depth… – [Extract : Bio – Sous Les Etoiles Gallery]

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Ronan Guillou : Website

Ronan Guillou : Series (2)

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27
Feb
12

Ronan Guillou : Colour Photography ( Series 2 )

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For the past ten years, Ronan Guillou has undertaken a broad personal photographic investigation, suggesting a vision of the complexity of the dialogue between the protagonists of urban life. It was in the process of his numerous expeditions on different continents that this research became clearer, before he made the United States his primary source of documentation. Difficult to classify, Ronan Guillou’s work is somewhere in between documentary photography and plastic photography; where in just a few years, the artist compiled a considerable body of work that he only began showing in 2005.

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‘Intra Muros Series’
Ronan Guillou
C-Print
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‘Downtown Series’
Ronan Guillou
C-Print
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‘Downtown Series’
Ronan Guillou
C-Print
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‘Intra Muros Series’
Ronan Guillou
C-Print
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‘Intra Muros Series’
Ronan Guillou
C-Print
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‘Downtown Series’
Ronan Guillou
C-Print
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‘Intra Muros Series’
Ronan Guillou
C-Print
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If his photographs suggest a poetic vision of the ordinary and call upon the imagination of each and every one of us, they also question us on the temporality [material matter] of places, reveal their nearly organic power as well as their fragility, and examine man’s relationship with the constructed universe. The use of a medium-sized format allows the artist to give priority to immediate contact with his subject while remaining in touch with the elements outside of the frame.

Color is also at the heart of the production process as the decisive material of the formal approach; if in fact it makes it possible to reveal the geometrical force of spaces and the poetic dimension of certain scenes, it tends to pay tribute to traditional American iconography as well. The entirety of Ronan’s work is produced on negative film and no retouching is carried out on the originals, leaving the photographers point of view intact and without distortion. – Extract : Press Release – NextLevel Galerie

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Ronan Guillou : Website

Ronan Guillou : Series (1)

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05
Feb
12

Felice Varini : Site-Specific Installations (Paintings)

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‘Ellipse in red trapezoid’
Site-specific installation
Felice Varini
2008
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‘Trapezoid in red ellipse’
Site-specific installation
Felice Varini
2008
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‘Red ellipse for the window’
Site-specific installation
Felice Varini
1995
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‘Eight eccentric circles No.1’
Site-specific installation
Felice Varini
1998
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‘Three red triangles’
Site-specific installation
Felice Varini
2001
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‘Ellipse on two points’
Site-specific installation
Felice Varini
1997
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‘Ellipse with six circular holes’
Site-specific installation
Felice Varini
2000
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“My field of action is architectural space and everything that constitutes such space These spaces are and remain the original media for my painting. I work “on site” each time in a different space and my work develops itself in relation to the spaces I encounter. I generally roam through the space noting its architecture, materials, history and function. From these spatial data and in reference to the last piece I produced, I designate a specific vantage point for viewing from which my intervention takes shape.

The vantage point is carefully chosen: it is generally situated at my eye level and located preferably along an inevitable route, for instance an aperture between one room and another, a landing… I do not, however, make a rule out of this, for all spaces do not systematically possess an evident line. It is often an arbitrary choice. The vantage point will function as a reading point, that is to say, as a potential starting point to approaching painting and space.

The painted form achieves its coherence when the viewer stands at the vantage point.When he moves out of it, the work meets with space generating infinite vantage points on the form. It is not therefore through this original vantage point that I see the work achieved; it takes place in the set of vantage points the viewer can have on it. If I establish a particular relation to architectural features that influence the installation shape, my work still preserves its independence whatever architectural spaces I encounter. I start from an actual situation to construct my painting. Reality is never altered, erased or modified, it interests and seduces me in its complexity. I work “here and now”. – Felice Varini

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Felice Varini : Website

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02
Feb
12

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

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

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‘The Pants Sisters’
Paper on Paper
JP King
2010
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‘Safe As Drinking Water’
Paper on Paper
JP King
2010
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‘My Secret Trombone Song’
Paper on Paper
JP King
2010
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‘When The Music Went Pink’
Paper on Paper
JP King
2009
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‘Joshua Barndt’
Paper on Paper
JP King
2008
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‘It Took a Lot of Energy to Make Wind’
Paper on Paper
JP King
2009
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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]

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JP King : Website

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29
Jan
12

Georges Rousse : ‘Site-Specific Installations’

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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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Georges Rousse
Site-Specific Installation
Photograph
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After he discovered Land Art and Malevich’s Black Square against a white field, Georges Rousse altered his relationship to photography, inventing a unique approach that shifted the relationship of painting to space. He began making installations in the types of abandoned or derelict buildings that have long held an attraction for him – creating ephemeral, one-of-a-kind artworks by transforming these sites into pictorial spaces that are visible only in his photographs.

Rousse is unmistakably a photographer: his photographs are intrinsic to revealing his images, and deciding the composition, cropping and lighting and clicking the shutter are all essential to his process. But he is simultaneously a painter, sculptor, and architect, carrying out the same relationship to his worksites as a painter to his canvas. His raw material is Space: the space of deserted buildings. Taking his inspiration from a site’s architectonic quality and the light he finds there, he chooses a “fragment” and creates a mise-en-scène, keeping in mind his ultimate goal, that of creating a photographic image.

In these empty spaces, Rousse constructs a kind of utopia that projects his vision of the world–his imaginary “universe.” His creation both expresses his artistic intentions and resonates with his impressions of the site, its history and its culture. Finally, this results in a photograph, a flat plane, so the shapes he paints and draws, and the volumes and architectural constructions he creates in those massive spaces seem fractured or split on different levels. His photo brings together painting, architecture, and drawing. It carves out a new space in which the artist’s fictive world becomes visible. At the heart of this questioning, his work deals with our relationship to Space and Time. [Extract : Bio]

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Georges Rousse : Website

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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