Malin Gabriella Nordin lives and works in Bergen, Norway. She creates subtle compositions in multiple media with a focus on modest shapes. Natural and manmade textures are sourced and assembled to compose elegant collages. These collages then inform her sculptures that are as meek as they are monumental.
Edrem, (merde backwards), is a collaborative sketchblog from three French/Belgian designer-illustrators: Sébastien Paquereau, David Zazurca, and Steven Burke. The concept of the project, as is instantly evident to the viewer, is based in achieving volume. Paquereau, Zazurca, and Burke just want to get as many whimsical, stream-of-consciousness graphics out into the world as possible. In Burke’s words:
“We like not to say who we are when we talk about Edrem, because this is not the point of the blog. We try to get…massive numbers of experimentations and funny things [onto the blog], but we don’t care if the drawing is well done or not, it just has to be understandable…”
We all have a tendency to get heavily involved in our various projects, exerting microscopic levels of control on our output. Edrem reminds us that pulling off the reigns a little bit can yield many fruitful results. The Edrem crew staged an exhibition in Spring of 2010 at Michard Ardillier in Bordeaux entitled, “La Palissade”.
Ernie Button lives and works in Phoenix, AZ. He has an ongoing project entitled Vanishing Spirits in which macro photographs are taken of evaporated single-malt Scotch whiskey. What remains resembles intergalactic microcosms and psychedelic landscapes. In his own words: “The idea for this project occurred while putting a used Scotch glass into the dishwasher. I noted a film on the bottom of a glass and when I inspected closer, I noted these fine, lacey lines filling the bottom. What I found through some experimentation is that these patterns and images that you see can be created with the small amount of Single-Malt Scotch left in a glass after most of it has been consumed. The alcohol dries and leaves the sediment in various patterns. It’s a little like snowflakes in that every time the Scotch dries, the glass yields different patterns and results. I have used different color lights to add ‘life’ to the bottom of the glass, creating the illusion of landscape, terrestrial or extraterrestrial.” (via)
If you are a Lightroom user and never heard of Sleeklens then you are missing out some of the best presets available for photographers these days. Lightroom presets are groups of parameters defined on Lightroom’s tools and sliders, therefore, they make user’s routine a simpler task by accomplishing many adjustments in only a few clicks. But what does really make a preset stand out in such a competitive industry?
First of all, quality. If a preset is really good made, then it won’t add Film Grain or Noise to your picture unless is your intent to do so. The preset has to work for what is meant to; if it is a Clarity filter, then it will affect only parameters linked to Clarity slider, same for other tools.
Next comes creativity, a killer skill for every artist, and we as photographers are artists as well. Enhance your pictures with creative effects: lomographic effects, stunning B&W for making your pictures look like old time classics, etc.
And finally variety… Presets must apply to every kind of situation that we find in our daily life. Imagine you took a trip to a nearby beach and took stunning pictures, what can be your best pairing for it? A good set of landscape presets. These amazing features Lightroom gives us enough room to explore must be cataloged and defined for different scenarios: Food, Portrait, Landscape, B&W, Nature, Film, Cross Processing… the list can be really large.
Sleeklens has all of those features and more. Created by and for photographers, it doesn’t matter if you are not skilled enough with Lightroom for using them; regardless of your proficiency as a user, they will freshen up your pictures, bringing more life out of them.Stop wasting your time and get ready to transform your pictures into beautiful works of art!
Text phrases, words and letters abound in contemporary art, ranging widely from direct witty phrases to text that has become illegible in its adaptation. With increased crossover between different fields of art, the craft of editing text in literary arts is a skill and practice that has been incorporated into the visual arts more frequently. Jenny Holzer is an artist who comes to mind in this regard.
However, in this article I am examining the other polarity of text in art. As an artist who regularly uses text in my own art work, I am always interested in discovering the ways in which other artists step beyond the all too prevalent witty-one-liner on the wall into an artistic language that is far more expansive and uniquely cultivated. The artists included here demonstrate the beautiful grey area that emerges between abstract painting, graffiti, constructivist painting and the written word, to name a few. Here text becomes a vehicle for additional forms of communication, used as a foundation to expand upon with the artist’s particular vision or agenda.
Wendy White, Feodor Voronov, Glenn Ligon, Annie Vought, Jose Parla and Jel Martinez are all artists whose work takes text and language and pushes way outside the box. Wendy White’s use of the lines and structure of letters themselves is deconstructed and echoed in lines that emerge within her abstracted and color washed work. In the images of her work shared here, I particularly love the way in which she goes beyond the canvas in architecturally reconstructing the text-like elements along the border.
Fantastic works by Hell’o Monsters.
Peter Schuyff’s favorite terms to describe himself are “irreverent,” “obsessive, ” and “spiritual. ” By irreverence, he means his confidence in what he is doing, his casual acceptance of an abstract vocabulary. The obsessiveness is in his technique. And through this process, his work becomes imbued with a kind of spirituality an apparition seems to build up within the layers of paint, and the light emanating from the canvas is, perhaps, a hint of its presence…he began painting one patterned surface over another, and then began to add semi translucent white grids to the two layers, further confusing the relationship between the patterns. Slightly claustrophobic, these paintings have been described as padded cells, albeit ones through which light mysteriously penetrates.