Posts Tagged ‘transparent

23
Apr
12

Azurebumble : ‘AI : Series’ (Photography Book)

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Recently, I’ve curated a number of image series by photographers from ‘Flickr’ on my blog ‘Aesthetic Investigations’. Subsequently, I thought it would be interesting to document these works in a book. Therefore, i’ve arranged a collection of ’39’ abstract and minimal photographic series by these ’32’ artists. A selection of pages from the book can be viewed below, a full book preview can be seen: HERE

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Thank you to everyone who contributed their images to this project.

All graphic content and curations by : Alan Wilson ( azurebumble )

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Book Cover
Front & Back Pages
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Introductory Pages
Copyright & Contents
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Introductory Pages
Tags, Artists & Series Thumbnails
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Photography Series
Gianni Galassi
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Photography Series
Teresa (Colourful Life) & roB_meL
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Photography Series
Camilo Todemann & Olli Kekäläinen
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Photography Series
Brancolina & Barbara Stumm
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Photography Series
Françoise Lucas & Leonie Polah
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Photography Series
Julian Gomez & Tom Mclaughlan
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Artists

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Alec Cheer……………………Annemie Hiele……………………..Azurebumble……………………Barbara Stumm

Brancolina………………….Camilo Todemann…………………..Daniel Molina…………………….Fernandoprats

Françoise Lucas…………….Gianni Galassi…………………….James Withey……………….John Kosmopoulos

Julian Gomez……………Krystina Stimakovits…………………Leonie Polah………………………….Lillykeeper

Lord Jezzer…………………..Lucie Bourassa…………………..Mark Valentine…………………..Olli Kekäläinen

Peter Moons…………………..Phédia Mazuc……………………..Rita Vita Finzi…………………………….roB_meL

Shari Baker……………………Steffen Tuck………………..Teresa (Colourful life)…………..Tom McLaughlan

Visualisarium…………………..Wilma Eras……………………Wouter Hogendorp……………………….Zel Nunes

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VIEW FULL BOOK PREVIEW AND PURCHASE HERE

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11
Mar
12

Sabine Hornig : ‘Windows’ Series (Photography)

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From the inception of her work in the late 1990s, Sabine Horning has engaged in exploring specific spatial and perspectival concerns and the blurring of the distinctions between two-dimensional and three-dimensional space. Employing photography and sculpture in equal measure throughout her practice, Hornig supports and expands each of these mediums by cross-referencing one with the other.

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‘Radically Reduce’
C-print on Perspex
140 x 183 cm
2004
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‘No. 9’
C-print on Perspex
140 x 189 cm
2007
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‘No. 10’
C-print on Perspex
130 x 177 cm
2007
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‘Kleines Fenster’
C-print on Glass
80 x 116 cm
2009
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‘No. 12’
C-print on Glass
115 x 142 cm
2009
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‘No. 11’
C-print on Perspex
150 x 200 cm
2007
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‘Window with No Floor’
C-print on Perspex
140 x 195 cm
2006
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For Sabine Hornig, the window represents a basic, transparent, grid-like system that incorporates her ideas on the gaze, view and perspective, which oscillate between image and sculpture. Hornig finds the windows she uses in her photographs incidentally in modern cities, mostly in Berlin. Intentionally made visible or invisible, the window functions as a prevalent frame that contains certain flows, a certain motility between interior and exterior, public and private, transparency and distortion, open and closed space, and associated with this last pairing of terms, flight and confinement.

Through her activity of foregrounding the transparency (rather than the transparentness) of the palimpsestual threshold of the glass/window in her photographs, Hornig obliges us to become aware of glass (by means of Plexiglas) as a complex structure, a responsive surface and the window as a doubling boundary. In her recent suite of photographs of vacant shop windows, the artist not only expands on our awareness of the optics of the window as a sill, but raises these abandoned commercial spaces from their state of quiescent limbo to places where, in their emptiness, we are given reign to imagine past identity and future existence, where our emotions swing between melancholy and hope in the face of our ever-changing, mutant cities. – [Press Release: ‘Landscape Negative’ 2007]

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Sabine Hornig : Website

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03
Mar
11

Lillykeeper : Photography

lillykeeper
“storm”
photo
2010

barely there

“barely there”
lillykeeper
photo
2008

+

lillykeeper
“storm +”
photo
2010

funnel

lillykeeper
“funnel ”
photo
2008

12:30

lillykeeper
“12:30”
photo
2008

Cordage

lillykeeper
“cordage”
photo
2008

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Lillykeeper : More Works

Lillykeeper : CargoCollective

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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

stGiles_2407_3123

krystina stimakovits
photograph
2010

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krystina stimakovits
photograph
2009

southendPckhm_0907_2799

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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01
Feb
11

Yvonne Lacet : “Movements of a City” (paper sculptures)

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Starting point of this project is the ever-changing urban environment. Places where things are constantly built, demolished and rebuilt. Places where old and new merge in extraordinary ways. By creating transparent paper sculptures of buildings and their surroundings during different periods in time, thus creating locations that are, that will be or that have been, I want to map different eras of a city in a single image. By layering the transparent sculptures you will be able to see the vague shadows of many faces of the city through time. [Extract : Yvonne Lacet – Movements of a City]

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‘Movements of a City’
Photograph
66 x 80 cm
2010

‘Movements of a City’
Photograph
66 x 80 cm
2010

‘Movements of a City’
Photograph
66 x 80 cm
2010

‘Movements of a City’
Photograph
66 x 80 cm
2010

‘Movements of a City’
Photograph
66 x 80 cm
2010

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I am fascinated by city surroundings, nature and interiors where a strong artificial character appears. A shopping mall decorated with flower boxes and lights. A lawn with rows of the same plants, a reception room with orange colored trash bins. Similarity, patterns and construction are keywords to my work. From my observations I create sketches which I develop into paper sculptures. Eventually these sculptures are photographed, which places them back into ‘reality’.

My work is about simplifying things – sights, objects and situations, to images of basic shapes and structures. It’s about removing context and reference from them, and then recreating them with nothing more than basic shapes and materials, like paper squares or sheets. I like to work with paper and cardboard because of the simplicity of the material. A white piece of paper almost stands as a symbol for empty or blank. My work can be seen as models without paint or decoration, a characterless blankness, though with strong resemblance to the living world. [artist statement]

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Yvonne Lacet : Website

17
Dec
10

Kathleen Markowitz : Monotypes & Mixed Media

I’m drawn to the sheer physicality of making a painting and the tactical
engagement of materials… I am drawn to the color blue.” K. Markowitz

Light Box 304
Mixed media on paper
21 x 21 inches
2009

Light Box 309
Mixed media on paper
21 x 21 inches
2009

Light Box 308
Mixed media on panel
21 x 21 inches
2009

Light Box 305
Mixed media on paper
21 x 21 inches
2009

Lightbox 1
Mixed media on paper
20 x 20 inches
2009

Birdbox 7
Mixed media on paper
21×21 Inches
2009

Birdbox 1
Mixed media on paper
21 x 21 inches
2009

Monotypes

Monotypes are one of a kind, unique prints. This work was made through applications of ink rolled and manipulated on the non absorbent surface of a Plexiglas plate. Damp paper was placed over the worked surface and with the help of a press, the impressions are pulled from onto the paper. Additional markings and sometimes patches of glued color amend the work after the paper has dried. This process allows me to address the formal concerns of both painting and drawing, and produces work with a remarkable transparent and “layered” quality that is not otherwise achieved. [artist statement]

Kathleen Markowitz : Website

Kathleen Markowitz : Page Bond Gallery




Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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