Photographer Kacper Kowalski captures life from above in these beautiful images of the Polish woodlands. The bird’s eye view features incredible, vibrant shots that are simultaneously recognizable and abstract. Brilliant greens, blues, pinks, and purples dot the landscape and play with our sense of scale. Trees look minuscule in many of the compositions, like they’re pipe cleaners or tiny army.
There’s a divide in many of Kowalski’s photos whether it by a river, a road, or line of trees. This separated area creates a pause or compositional breath. We’re often overwhelmed by texture or patterns. The photographer’s decision to include these areas allows time for reflection and comparison. How are the two spaces different? How are they same? What does it mean for them to coexist? (via a_a)
New York City based designer/artist LA Hall is dedicated to spending quality time with his sketchbook, recording both the world around him and the world within him. For those of you in need of inspiration I suggest spending some time with his sketches or browsing his featured work on Cargo Collective.
Simon Schubert creates an austere brand of hauntingly elegant forms that remind me of the creepy twin scenes from The Shining, minus the oceans of blood-bath (though somehow, is simltaneously implied.) They straddle the realms of design, human and esoteric form, at home either in some avant-garde London hotel for millionaires or some strange fun house carnival.
This is a bizarre yet interesting project by Russian photographer Igor Starkov. Here is a description of the project in the photographers own words:
Vladivostok amateur photographers often go to the countryside for photo sessions. Anyone can be a model but in general they are young girls and photographers are men of different ages.
The larger and more expensive the camera and the longer the lens, the bigger the chance to find a girl for a photo session.
I was photographing what they have created. Postures, looks, everything was as it would be on amateur photographs with the only difference that I was using film and medium format and perhaps was composing my frames more professionally.
And photographers are eager to touch young girls with their hands, put down a bretelle and may be get to know her closer. There is even a certain competition between the photographers – who managed to take pictures of more beautiful girls, and whose pictures are sexier. To persuade her to pose naked requires mastery not everyone has.
Check out some amazing aerial shots of Iceland’s volcanic countryside from Russian photographer Andre Ermolaev. The intense heat from the volcanoes produces some really unique visuals. And Ermolaev’s bird’s eye view forces us to recall how majestic our planet really is. Not to get all preachy, but if we want to preserve visuals like these, we may have to alter our actions a little. (via)
Legendary Swiss surrealist H.R. Giger, has died this past Monday, May 12th,2014 after sustaining injuries from a fall. He was 74. Born on February 5, 1940 in the rural town of Chur, Switzerland, the artist showed an interest in dark art forms from an early age but trained to be an industrial designer at the School of Applied Arts in Zurich.
Geiger was best known for designing the iconic “xenomorph” creature in the Alien movie franchise, and for his work in Alejandro Jodorowsky’s ambitious film, “Dune”.
Giger’s nightmarish imagery-a blend of mechanical and biological androids-was in fact fueled by his own bad dreams and by an early interest in artists like Salvador Dali and Ernst Fuchs. The artist kept a journal by his bed so he could record the imagery. Wired reported that Giger had “an idyllic childhood in one of the most beautiful places on Earth. But it harbored forbidding structures and estranged elements that left an impression on a child subjected to night terrors and panic attacks.”
An early series of controversial art, most likely influenced by his perturbed childhood nightmares and anxieties, landed Giger a gig to create the album cover of the 1973 Emerson, Lake & Palmer album, “Brain Salad Surgery.” After his success with the English progressive rock trio, Giger became highly solicited in the movie business.
After winning an Academy Award for visual effects on “Alien,” the artist continued to experiment in show business by designing sets for “Poltergeist II” (1986) and “Alien III” (1992).
Giger, however, found himself disliking Hollywood. Later after the last Alien movie, he retreated back to Zurich in hopes that he could get back to being a visual artist for his own sake.
Rob Matthews is an east coast designer (I’ve noticed a lot of good work coming from Minneapolis!) with a penchant for the ironic. His “Wikipedia” project takes articles from Wiki’s Wikipedia’s featured articles. Other projects include: T-shirts and posters that wrap around your head to make you become his friend ‘Trevor Burks’ (who he misses), and turning drawings into photographs which is kind of like the opposite of what people are used to when they’re first practicing art.
Edit: Friend & video artist Party Food (Joe) has sent me a map to show me where MPLS is, thank you. If you are like me, geographically challenged, please refer to this image.
Iva Gueorguieva, currently a Lux Art Institute resident, is a Bulgarian-born artist that paintings are incredibly filled with energy portrayed with color, composition and expressionist brushstrokes. The dreamlike abstract landscapes are highly energized by the amazing intensity in colors and the layers create such dynamic organic like environments, they can’t help but captivate the viewers attention with the exuberant hues and dizzy brushstrokes.