Posts Tagged ‘vertical

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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14
Mar
12

Richard Stultz : ‘Almost Monochrome’ Series (Photography)

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‘Almost Monochrome’
Richard Stultz
Photograph
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‘Almost Monochrome’
Richard Stultz
Photograph
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‘Almost Monochrome’
Richard Stultz
Photograph
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‘Almost Monochrome’
Richard Stultz
Photograph
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‘Almost Monochrome’
Richard Stultz
Photograph
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‘Almost Monochrome’
Richard Stultz
Photograph
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‘Almost Monochrome’
Richard Stultz
Photograph
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Artist Statement

The urban landscape with its man-made structures confronts us all the time. We live, work, and play in it, but it’s so ordinary that we often don’t really see it. Our eyes take it in, but nothing registers internally, perhaps because the urban landscape seems rather unremarkable. With so many of these urban visual images continually flowing through our consciousness, we don’t see that there is more there. My interest is in making the unremarkable remarkable.

What a fascinating place the urban landscape is, with its intersection of architectural shapes, light, and color. Using these elements, I strive to create a structure within an image that’s especially satisfying. Sometimes the scene is mostly geometrical, consisting of trapezoids, rectangles, triangles, and circles. Sometimes it’s sweeping curves punctuated by straight lines and smooth gradations of light.

The interplay of these forms moves the eye to sense the interrelatedness of all of the shapes. The repetition of identical elements points, consolidates, and directs the eye toward other interesting elements. The shapes all vie for position, all want to take center stage, yet are unable to move. But the eye can move, the eye can see the relationships, and the eye can pull the image together into a whole.

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Richard Stultz : Website

Modernbook Gallery

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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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26
Jan
12

Elín Hansdóttir : ‘Path’ (Site-Specific Installation)

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Elín Hansdóttir’s site-specific installations take many forms, including auditory or optical illusions, labyrinthian tunnels and motion-activated architectural elements. Hansdóttir creates self-contained worlds that seem to operate under their own set of rules, completely transforming a benign space into one that defies expectations and seems only to exist at a particular moment in time. Though her site-specific installations are complex in construction and technical craft, they take on a stark aesthetic, so that her work operates as a kind of blank slate for viewer experience and interaction.

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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Elín Hansdóttir
Sound: Úlfur Hansson
‘Path’ : Site-Specific Installation
Construction : Jeannot Dupont & Ulf Sturhann
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Path is a site-specific labyrinthine structure that weaves through each space it inhabits, filling the physical area with its winding course. Each exhibition site dictates the form of the zigzagging tunnel. Working with the boundaries determined by the external space, the structure is outlined directly on the floor, with the objective of having the structure occupy as much of the site as possible, thus creating a unique shape each time. The only light source emanates from vertical and horizontal slits throughout the construction. Due to the structure´s sharp edges, the light is dispersed in such a way that one mistakes shadows for walls, walls for space, and light for walls…

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Elín Hansdóttir : Website

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06
Jan
12

Karl Kliem : Alva Noto & Ryuichi Sakamoto – Trioon I (Music)

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The main elements of the music, piano and sine waves, are represented by two
elements. Abstract keys fade away like the piano sounds fade out of your mind.
Horizontal stripes display the sine waves frequencies with their vertical position.

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Karl Kliem : Vimeo

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25
Nov
11

Wang Huai Qing : Paintings

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“One can make art out of simple, humble things; small things can be transcendental…” Antoni Tàpies

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wang huai qing
painting
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wang huai qing
painting
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wang huai qing
painting
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wang huai qing
painting
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wang huai qing
painting
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wang huai qing
painting
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wang huai qing
painting
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Chinese artist Wang Huai Qing creates powerful black and white compositions out of a simple chair or the cross beams of a house. He focuses on the form of everyday objects – houses, tables, chairs – always seeing the powerful abstract imagery that they suggest. He adopted artistic elements from traditional Chinese furniture, creating a unique personal style characterized at once by a graphic strength and modern elegance. Entranced by the vertical and horizontal lines and structural shapes of traditional houses and furniture, he expresses their aesthetic beauty in minimalist black and white compositions. Often he softens the stark contrasts by employing a range of gray tones reminiscent of Chinese ink and wash. This has the effect of heightening the textural effect of the painting.

The subject matter has an inherent symbolism: the wavy grain of the wood, the way the dark wood of posts and beams contrasts with the plain white walls, connect with a traditional Chinese aesthetic consciousness. They allude to ancient literati poetry and the cultural atmosphere of the region, as well as to the artist’s personal feelings. His emphasis on the significance of form and symbolism above realistic depiction, his apparent simplicity of composition, as well as his fondness for textural effects, is in fact very close to the spirit of Antoni Tàpies’ work. Two great artists of different generations, who live on opposite sides of the world, with quite different lives and sources of inspiration. Yet each has his own individual style of abstraction which arouses the viewer’s attention for both its artistic integrity and ideological depth. [Extract : Anna Ning Fine Art]

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Wang Huaiqing : Website

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Ai : Series : Photography Book

aesthetic investig...
By Azurebumble

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