Carol Inez Charney is a photographer based in San Francisco. Her newest body of work is a series of images that resemble colorful abstractions. In reality the photographs are close-ups of water on windows as well as the colors that surround them. In her own words: “My current photographic series, Interior Landscape, uses natural distortions present in our everyday world—namely, moisture on windows—to evoke a painterly image that recontextualizes our everyday architectural landscape. While focusing on the minute details of these natural distortions, we enter a space of quiet contemplation, which simultaneously inspires a new kind of internal and external vision. After several years of combining painting and photography with mixed results, one very cold day in Minnesota I looked through a window completely covered in condensation out to the frosty distant landscape. I realized I could use the camera to reinterpret the world around me into a form akin to that of painting.” (via)
In just 30 years Future Shop has turned from a small one store electronics shop in Vancouver, BC to becoming Canada’s biggest retail and e-tailer of Electronics. So it should come as no surprise that Future Shop continually brings you some of the exciting and popular pieces of tech and electronics.
The above video by Future Shop showcases the Bose OE2i headphones which are some of the most lightweight yet durable headphones on the market. These headphones don’t have any of the bulk that you’re used to seeing on other premium headsets but they pack a powerful audio punch with advanced acoustic design that gives you surprising depth and clarity, adding further nuances, deeper lows and clearer highs to your favourite tunes. Best of all the Bose OE2i headphones are equipped with an inline remote and mic that’s compatible with most Apple products making it easy to control your device whether you’re in the studio painting all day or running around town.
Agua Sagrada is the title of this series of photographs by Columbia-educated James Pomerantz. The photos were taken in Mexico at a cenote, which is a water-filled sinkhole, found mostly in the Yucatan, that the Mayans believed to be portals to another world. Today these cenotes are tourist destinations, though the otherworldly Mayan connotations are still plainly evident in their haunting, ethereal appearance.
More photos after the jump, but check out Pomerantz’s site for some other beautiful sets, mostly of poverty or tragedy-stricken places like Eastern Europe and the Congo.
Vally Nomidou’s series of life-size sculptures are all made of paper and depict young women and young girls. The female figures impress with the naturalness of their features and poses, the perfection of modelling and the beauty of volume.
Paper, Nomidou’s dominant material, now becomes a key component in her creative process, inextricably linked to painful and systematic research on the technical level, as well as on that of aesthetic integration. The artist respects her material and, although it is cheap and vulnerable, she does not “adulterate” it by using other materials. Moreover, she does not use it as a shell, an encasing to cover a necessary inner structure by providing a fake, idealised skin. Nomidou builds and shapes her works from the inside out solely using paper and paperboard. The internal cardboard frame is built with a vertical and horizontal grid in order to be able to support and render stillness in her sculptures, while also ensuring balance in contraction and expansion. The homogeneity of her material allows the equilibrium in the behaviour of the interior and the exterior, and thus ensures its duration.
Regarding her technique, the perfect rendition of facial features, of expression, of the naturalness of pose, of body proportions, is based on a process of combining partial plaster casts, the meticulous observation of an exhaustive photographic documentation of her sitters and a painful processing of the outer skin. The perfect prints are synthesised, cut, sewn, glued, rubbed, and through the mastery of her touch achieve the fully realistic rendering of her sitters.
Robert Means takes traditional portraiture and gives it a contemporary twist with a little splash of color here and there.
Yuko Takada Keller creates detailed and intricate sculptures out of paper. Since 1996, she has been using small triangular pieces to create her designs, which she says “symbolizes something like a molecule.” Her work is inspired by dreams she’s had, and her delicate, cascading designs resonate with ethereality. She claims her work has also evolved over time since she’s realized the connection between the thin delicacy of the paper and skin membranes. From her website,
“Tracing paper has a transparency and an untransparency.
I’m interested in how tracing paper is like a skin membrane.
The skin membrane lies between dream and reality.
The skin membrane lies between consciousness and behavior.
The skin membrane is there when life is born.
The skin membrane is part of a human being.
I want to represent the space that people are aware of
The skin membrane is unconsciousness.”
María Aparicio Puentes’ collaborates with a wide variety of photographers to create her interesting mixed media pieces. Armed with thread and a sharp needle, María stabs into the photos repeatedly to create geometric patterns and shapes that even Buckminster fuller would be proud of. (via faith is torment)
At age 72, Mernet Larson is having her first solo show in new york right now. Her show Three Chapters is slated to be shown in three consecutive bodies of work– Heads and Bodies, Places, and Narratives. The first two have already come and gone, but if you’re in the NY area you should check out her Narratives chapter at the Johannes Vogt gallery before it gets taken down on the 27th . “These works navigate the divide between abstraction and representation with a form of geometric figuration that owes less to Cubo-Futurism than to de Chirico, architectural rendering and early Renaissance painting of the Sienese kind. They relish human connection and odd, stretched out, sometimes contradictory perspectival effects, often perpetuated by radical shifts in scale.” – New York Times (via)