Like a butterfly stopping by to smell the flowers, Geraldine Javier pauses to interpret her subjects in a manner that they begin to come to life again. She combines both classic and contemporary compositions, injecting Filipino cultural references into each piece. Her attention to detail remains evident, and she even takes it further in her three-dimensional works, using materials like textile, preserved beetles and butterflies, embroidery, and resin to create her arresting works.
Moroccan interior design company Habibi Interiors invites us to watch master craftsman create beautifully hand carved terra cotta tiles. These tiles are used in the creation of zellige (also known as zillij, or zellij), a form of Islamic tile work that uses geometric patterns to form mosaics that decorate various surfaces. The most common shapes used are the star, square and cross. The mosaics only portray geometric patterns due to the fact that historically, islamic artists were working in accordance of aniconism, the forbiddance of portraying sentient beings. This art is a primary characteristic of Moroccan architecture. Traditionally, a house decorated using zellige was a sign of a high class family. It is not only the creation of the mosaics that is considered an art form, the sculpting of the tiles is also a highly skilled process. The art is handed down through the generations by maâlems (master craftsmen) and is a long process that begins during childhood. As shown in the video, the tiles are crafted by making clay sheets that are ten by ten centimeters long. The tiles are then painted. Afterwards, the desired shapes are traced onto the tiles and then carved down slowly by hand. Each small piece is crafted perfectly to fit within its neighboring piece. The tiles are then patterned into place and sealed together.
I recently stumbled upon this seriously amazing artist duo, Mildred & Pacolli. Their work is AWESOME! I love it. They recently had an exhibition at the Lower Haters gallery in San Francisco called WE ARE US. You should check out some of their work!
Flowers and plants glowing in the dark. These pictures are the result of a titanesque work performed on each nature based element by Robert Buelteman. The California based artist is not using anything else than flowers, photographic films, electricity and a fiber-optic probe to create his work. The result is captivating and intriguing.
Robert Buelteman starts his process by picking fresh flowers and plants from a field. He lays them onto a photographic film in darkness after scalping them until they are sheer. He then throws a 80,000 volts current with his car battery, illuminating their unique energy field and exposing the film to their ultraviolet corona. The artist painstakingly applies the fiber-optic probe, which is the size of a human hair. By tracing over the shapes, some light is reflected, some absorbed, but the light that penetrates the subject exposes the film with the color and form of its’ source. This method requires, for a one successful picture at least 150 tries.
This camera-free, non-digital process only uses the natural and genuine energy of the plants. A statement dear to Robert Buelteman, a former classic photographer, who decided to counteract the growth of digitalized photography by going back to simplicity and craftsmanship. His is attempting to demonstrate that creativity is in the hands of everyone, for the ones that are willing to put the work. And that a piece or art doesn’t need to have a particular meaning. He prefers to let the electrocuted flowers speak for themselves.
Robert Bueltman’s pieces will be displayed at Adler & Co Gallery in San Fransisco until December 28th 2015
Photographer and videographer Khalik Allah has been shooting candid photos on the streets of Harlem since 2012. Having developed a relationship of trust with those in the neighborhood he frequents, his photographs reveal, softly, but emphatically, a side of city life that is struggling and raw. Allah ventures into the night alone, with his camera and a few rolls of film, and through him we meet those he crosses along the way.
There is such a fine line, in photographing marginalized communities, between documentation and exploitation. When is the camera no longer communicating a reality and instead romanticizing the hardships? When has our empathy, or humanity, turned to voyeurism? Although addiction and poverty are notable characters in Allah’s photographs, they manage to refrain from becoming the central focal point, and his work extends itself with just as much heart as it does grit. Allah muses on his website about this very topic:
“I feel it’s impossible for any photographer to maintain objectivity. The photographer always has a literal point of view, camera choice, light choice, and many other choices; by default these choices will always make it a subjective form. Subjectivity doesn’t diminish the power a photograph may contain.”
Allah walks the line with a conscientious sort of fragility, and has catalogued a selection of work that shows darkness as well as light. There is a light that remains, and sometimes shines out. Allah has crept close enough to show us the souls through the eyes, in case we forgot to look for ourselves. (Excerpt from Source)
I apologize for shameful self-promotion, but I really couldn’t help myself. Here are some shots from The Power of Selection Part 2, the second installment in my 3 part conquest to bring work to Chicago that otherwise doesn’t get shown here. Check it out!
Danish-icelandic Olafur Eliasson has done it again! “Your chance encounter” is showing at the 21st Century Museum of Contemporary Art in Japan. His intent to make his work engaging and relevant in the tailored museum space brings the institution to life. The rooms and corridors are transformed through his use of light, mirrors, shadow, color, wind and fog. Eliasson re-proposes the idea of the art museum as not just simply a building we go into to see art removed from society, but as more of a public space with the potential to engage society and the urban environment. If you’ve had the “chance encounter” with Olafur’s new installation, let us know what you think- was he successful in doing so?
Guy Laramee delicately cuts caverns through the centers of books. He carves the pages away to reveal caves that seem to be ready to be explored. His work explores the insides of books in a very literal way. Indeed, Laramee’s sculptures in way recall the plot of a classic: Journey to the Center of the Earth. And, in fact, Laramee mentions this book in his statement on the series. He says:
“Like in Jules Verne’s “Journey to the Center of the Earth”, we seem to be chained to this quest. We “have to” know what lies inside things. But in doing so, we bury ourselves in the “about-ness” of our productions – language, function, etc- all things “about” other things.”