In reaction to a story by NPR’s Planet Money team about the financial collapse and its effect on Southwest Florida housing market, the The Big Picture photography column at Boston.com spent some time scouring Google Earth to document exactly how man-made structures and development planning has altered the land, coast and the way we cover that natural beauty we desire so much.
The resulting pictures show, in stunning simplicity, just how alien the natural landscape of Florida (or most of the Earth for that matter) has become. Ranging from densely-packed communities to barely finishing plotting, the photographs show the natural beauty of the land being lost, and mostly replaced by poorly-planned, short-term solution living situations. They also simultaneously insinuate humanity conquering nature like a plague of locusts, as well as demonstrate our efforts being over-run by nature, like every civilization of the past. (via boston.com)
Yes Yes!! I’m enamored with these drawings by Hope Gangloff. A touch of that downtown super-cool, but with a candid feeling of tenderness – Hope has a distinct way of making you feel like you know these people, and that you’re sharing a special moment in time with them… Or at least I’d like to…
Carved carefully into the delicate surfaces of shells, Gregory Halili’s magnificent human skulls look like forgotten human fossils, discovered long after the extinction of our species. The New Jersey-based artist draws inspiration from the wild plant and animal life the Philippines, where he lived into his teenage years; his medium, black-lip and gold-lip mother of pearl, are gathered from the shores of the island country. The artist’s shimmering skulls are complex bas-reliefs, and his technique, which includes detailed oil painting, is evocative of ancient coins; in the place of hard metal lies a soft partially organic material, and portraits of kings are replaced with ominous skulls.
Halili’s skulls are poignantly fragile, far less durable than human bone. A single slip of a tool, and the tender piece is ruined. The shape of the shell lends itself to the humanoid form; encased within its circular bounds, the skull appears like a child in the womb. The shell material that once protected a gastropod with maternal determination, softly frames Halili’s expert carving. In this way, the artist forces a collision between birth, the “mother” of pearl, and death, represented here with the skull. Like relics washed ashore, these masterful pieces serve as a memento mori, reminding us of our own mortality, our creation and our inevitable demise. Take a look.
Daisuke Tajima’s paintings are vertiginous in all aspects. They depict ultra-detailed never-ending tall buildings. The artist is placing the perspective from above, as if we were flying amongst the city. But the beauty of these paintings lies in the fact that they are all imaginary.
To get lost into his art. This seems to be the aim of the young artist. The paintings are massive and the features of the city landscapes so small. The rooftops are particularly intricately detailed. From the pipes and machineries to the hoists. The repetition of these elements form a pattern which appears regularly throughout the painting and which makes the whole picture look claustrophobic. Daisuke Tajima says he feels comfortable in this world. He seems to dominate what is around him. An escape which he purposely created in order to be able to feel safe and in control.
“I wanted to hide away in my own world to ease the loneliness and insecurity I felt from not belonging. This piece is a world I can believe in.”
Daisuke Tajima just recently graduated in Japan. His talent was rewarded by a prize of 10 million yen (about $83K) for the cityscape series “gokinchotaikoku II”. Although this sounds like a rich outcome, it doesn’t look like success will stop the prodigy from creating sensitive and meaningful art pieces. Loosing himself into the depth of an imaginary city is Daisuke Tajima’s symbolic hideaway. (via Juxtapoz)
Portia Munson’s latest show at P.P.O.W uses photography, installation, and sculpture to create a vibrant and colorful atmosphere that examines nature, including our own.
Entering the gallery, photographic wallpaper of dandelions reach out from under a series of still life prints or memento mori: images of actual flower blossoms, carefully arranged by the artist as a mandala, inside of which, a woodland creature, formerly found along the roadside, nestles.
Of her imaging process, Munson elaborates, “I use the scanner like a large-format camera. I lay flowers directly onto it, allowing pollen and other flower stuff to fall onto the glass and become part of the image. When the high-resolution scans are enlarged, amazing details and natural structures emerge. Every flower mandala is unique to a moment in time, represents what is in bloom on the day I made it.”
When shown alongside Munson’s other piece: Reflecting Pool, a “congested installation” of heaping blue landfill trash, we are forced to confront our natural instincts– to build and discard with quick irreverence.
It’s all in the little details for artist Sanda Anderlon. Her illustrated collages and animations use the things that make up our personal, social and public lives to create portraits that tell stories through objects which give clues to the person. Similar to an archeological dig which reveals intimate details about a community or civilization her panoramic illustrations speak through a cluttered and chaotic aesthetic but once you take a closer look they become interesting clues into someone else’s existence.
Through basic titles such as fashionista, neighborhood, party and at the beach we’re given an overload of things which describe life as a human in the 21st century. In fashionista we see the materialistic excess of the fashion conscious. The dozens of shoes, clothes and wigs become an interesting survey into what some deem important. In neighborhood and party Anderlon comprises an exhaustive survey of the people and things which make up both. It takes on historical significance since the artist uses images from various time periods to complete her picture. Adding some depth to her work are animated versions which take on a different perspective. These move through the works as a timeline and offers a documentary style aesthetic.
Estevan Oriol is a brave soul. In Los Angeles, there are some neighborhoods that most people do not have access to. This disconnect between the outsiders and the neighborhoods, allows the mind to conjure up images of what it might be like to live in a gang territory, hood, barrio, etc. Estevan does what most photographers will not and cannot do; he treks into these neighborhoods and captures life in its rawest form. His photographs bridge the gap between our wildest imaginations and reality. No sugar-coating for the media here. Estevan’s work not only deals with street life, but with celebrities. Even music videos. The man is truly talented.
Feast your eyes on more dope images after the break.