United Kingdom based photographer Tony Hammond takes beautifully minimal photographs using only his iPhone and bit of editing before posting the images to Instagram. Each image features a simple object or subject framed by a brilliant, soft, pastel color palette. Most of Hammond’s compositions include an artful use of negative space that minimizes the objects or scenes he’s capturing. The enormity of this tinted negative space informs each captured moment by revealing its quaintness. Some of Hammond’s images feature particular shapes and lines – birds circling overhead or jet streams crossing each other’s paths. Hammond’s photography breathes soft ethereal life into simple scenes, creating moments of poetry that we recognize in our everyday experience.
If the Beatles were right and all you need is love, I’ll take Morag Myerscough and Luke Morgan’s version thank you very much. Built for the Festival of Love held in Southbank Centre, London (June 28 – August 31, 2014), The Temple of Agape is a visual feast. Neon colors, geometric patterns, and bold typography combine to make love a vibrant, exciting place to be.
The structures are inspired by those encountered by Myerscough in India and elsewhere in Asia where bamboo is used extensively for scaffolding as well as the Watts Towers in LA. The vibrant colours and handpainted lettering are similarly inspired.
Much of the success of the design is due to the restraint shown by Myerscough and Morgan, which may seem counterintuitive when looking at the riotous structure. Look closer, though, and you’ll see that there is one typeface and one type treatment. The color palette is strictly controlled, a neon rainbow, plus pink, black, and white. All of the shapes are simple and geometric; even the counters of the letters are removed, streamlining the shapes of the letters. Minimizing the design elements allows the installation to be ebullient but not overwhelming.
The Festival celebrates the legalization of Same Sex Couple Act by choosing seven Greek words describing love. Myerscough and Morgan’s were given Agape, a spiritual, selfless love; the love of humanity. Their temple represents the power of love to conquer hate.
“The Temple stands proud like a peacock with its giant Martin Luther King quote, expressing the power of love to the world,” say Myerscough and Morgan. “Inside its heart is calm and dappled with light for contemplating complex emotions, a place that can transform with Love expressed within.”
This is a temporary construction, which is a shame. The world could use more love, especially when it’s executed so beautifully. (Via Creative Review) Photos by Gareth Gardner.
Michael Craig-Martin has been creating art since the 1960s. His wall painting installations from the 1990s and 2000s feel current with their bright colors and flat appearance, but some of the items in the paintings, ubiquitous at the time they were captured, are now relics. Among the shoes and pails rendered in black tape outlines are Nokia style cell phones and milk bottles. That doesn’t diminish the charm of these installations. Craig-Martin’s intent was to make these works in a generic style, even attempting to erase his personality from the works by using tape as outlines instead of pencil drawings. It didn’t work. The purposeful non-style of painted mass-produced items executed meticulously in a vibrant palette at enlarged scale has become one of Craig-Martin’s signatures. The choice of everyday objects for his wall installations was a purposeful one.
“I thought the objects we value least because they were ubiquitous were actually the most extraordinary. … I wanted people to realise how extraordinary everyday objects are, and think about what image-making is. The impulse was never nostalgia, kitsch or a critique of consumerism.” (Source)
Photos of the installations can only capture part of their impact. Walking around a corner only to be confronted with an enormous pink desk lamp is part of the experience, as are the shifting views of eyeglasses and belts through the arches of a candy-colored room. Only when standing next to a seven-foot extinguisher can the scale of the articles be truly appreciated.
Though he is often called a conceptual artist, Craig-Martin prefers to be called radical. It’s not just about the concept for him—the making that comes from the idea is equally important. “Throughout his career, through work in many different media, he has explored the expressive potential of commonplace objects and images.”
Remi Rough has been incredibly active in the past few years marking the globe repeatedly with his juicy geometric art on huge urban buildings, other unlikely structures and in numerous galleries and museums. The prolific international artist returns to SOZE Gallery in Los Angeles July 19th to open his latest installment of work in his solo exhibit “Remi Rough: Further Adventures in Abstraction.” This exhibit, featuring a mother-load of over fifty new works on canvas, wood and paper, continue the evolution of Rough’s aesthetic, adapted from the mammoth swallowing scale on the streets to intimate smaller works in juicy vibrant palettes. The crisp clean lines and darting yet fluid sense of movement in these works create a tension in their depth, while maintaining a minimal pristine quality in their draftsmanship.
With her electric series Outside the Lines, photographer Ramona Rosales elevates the everyday to the realm of high drama by staging eye-catching moments saturated in color. Through the course this witty narrative, a woman, seen only below the knees, undergoes a series of domestic blunders that are both comical and tragic. Each photograph is shot after the fact, as if to chronicle not the accidents themselves but their psychical impact upon our protagonist and her home.
Through a masterful use of color, Rosales plays with our perception, imbuing each still image with a vibrating, buzzing afterglow. Opposite colors create a visual tension as a green wall is juxtaposed with magenta pumps, a blue curtain with orange stockings. At the same time, harmonizing colors seem pull across the frame toward one another.
The wonderfully hectic blocks of color allow the photographs to flatten into a more two-dimensional plane and veer into the aesthetic we normally associate with collage, recalling great works of mid-century pop art and advertising. Unlike those perfected— and sometimes ironical— works espousing the pleasures of modern home, Rosales’s endearing subject appears to inhabit an indoor landscape ripe with tension and anxiety.
For Rosales, color isn’t an objective means of triggering an optical response; instead, she hopes to tap into our subjective memories and associations. Some of the narratives are drawn from her own life experiences, remembered incidents from which she incorporates at least two colors. Both humorous and delightfully suspenseful, Outside the Lines invites us to perceive the dynamic vitality of even the most banal of life’s many moments. Outside the Lines opens July 10 and runs through August 24, 2014 at De Soto Gallery.
For his breathtaking project “Atypical,” the Warsaw, Poland-based illustrator and graphic designer Pawel Nolbert creates a typeface unlike any other. Composed of globular, thick brushstrokes saturated with dense color, his letters take on a tangible and material form, becoming what he calls “half-realistic, half-illustrative figurative sculptures.” For the series, the artist, who is also an art director, photographed paint splatters, and he later enhanced them and added depth through digital manipulation.
What emerges from Nolbert’s compelling work is a refreshing and visceral take on the written word, which in our contemporary culture can seem stale and lifeless. Here, language becomes physical as the body, writhing and twisting with vivid pleasure. The two dimensions of the page become the three, with thick, textured lines overlapping and creating an unexpected depth of field. Displaying an impressive grasp on color theory, the artist uses cognitive and perceptual tricks to extend the letters and numbers into three dimensionality. Complimentary colors are layered atop one another, creating an engaging visual dynamic: orange is paired with blue, purple with yellow, and green with red.
In a cultural landscape in which we are constantly bombarded with images, language moves to the wayside, and yet Nolbert finds a way to reclaim our attentions and bring us back to the fundamentals of words, letters, and numerals. Dancing about and leaping from the page, spewing paint in unexpected directions, his “Atypical” posters remind us of the vitality and creative potential inherent in verbal expression. Take a look. (via Colossal)
For a few years, MovieBarcode has been compressing each frame of entire films into pixel-wide, chronological bars, creating a unique color palette barcode for each movie. Color is used in film to set moods, evoke particular feelings, or to intensify plot and characters. While examining the barcodes of familiar movies, particular colors may stand out, or remind you of specific scenes or characters that you’re drawn to. MovieBarcodes allow a film lover an opportunity to view movies from a macro, bird’s eye view. It’s as close as you can get to seeing the entirety of a movie all in one glance. The person behind MovieBarcode wishes to remain anonymous, but told wired.co.uk that movies are chosen based on runtime and the quality of the outcome and that the biggest challenge is “[s]taying within the concept and not getting carried away by technical possibilities, some of which are planned to be published in a not too distant, not too busy future.” If you’re curious if a particular film has been compressed, or you just want to peruse titles, you can find an index of all the films that have been compressed here. If you like these, be sure to check out Redbubble, where some of the MovieBarcode prints are available for purchase.
Often in our daily lives, something needs to be taken out of it’s normal context to be seen with renewed appreciation. In Arnaud Lajeunie‘s recent photoseries Water meets colour, colour meets water, the Paris-based photographer explores new waves of seeing the constant ebb and flow of ocean waves by making them more visible, through the use of biodegradable, sugar-based dyes. Arnaud’s interventions tint the surging water with a plethora of colors, which are captured using an extremely fast shutter speed, which produces photos of violent, colorful takes of traditional landscape photography. Taken out of a normal context, one can see more clearly the natural beauty and fury. Says Arnaud, “Here, colour is seen as a raw material, as are the waves and the rocks. Colour adds density and thickness to transparent water, thus enhancing the flux fixation process.”
As writer Eugenia Lapteva notes in an essay on the series, Colours of Absence, “As the colours bleed into the sea, the texture of the water thickens and the motion of the waves is (re)defined, revealing its hidden course and complex networks. The crashing waves, which are carefully contained within the camera frame, pull the viewer into a vortex of frozen shapes and novel configurations that are otherwise indiscernible to the human eye.”
In his own words, the photographer explains, “I rely on the camera as a device with technical features that can give tangible shapes to ever-moving fluxes, in this case the waves. The high shutter speed transcends the human reflex of persistence of vision: it reveals existing shapes that the ‘mortal eye’ cannot perceive on its own.” (via mymodernmet)