Dark matter, Adam Katseff
Stunning Abstract Mountain Paintings by Conrad Jon Godly
Swiss painter Conrad Jon Godly effortlessly manages to capture the terrain and texture of the Swiss Alps with the use of oil paint, turpentine and incredible skill. By mixing the turpentine with oil paint, Godly is able to apply thick and rugged brushstrokes, which beautifully drop from the canvas.
Although the art of painting usually makes reality seem two-dimensional, Godly has depicted the true texture, roughness and concave of the mountainous landscape in every brush stroke. Overall his skill lends itself beautifully to one’s of nature’s grandest bodies. By carefully combining the colors, blue, black and white, Godly creates what seems to be a photograph.
(Source: culturenlifestyle.com)
JULIÁN TERÁN
P 12, 2008, Ink on paper, 16½ x 37 in. 42 x 94 cm.M 04, 2007, Ink on paper, 19⅝ x 27½ in. 50 x 70 cm.
When engineers are bored.
Engineers are witches
You can do it with your stove too
DAVID MARINOS - Eternal Decay
Aki Inomata - 0100101, 2008-09
An aquarium hangs from the ceiling. I light the aquarium with the light of a mercury lamp, and shine the shadows of the ripples in the water onto a white floor. In this way one has the impression that the floor is covered in water around twenty centimeters deep. Visitors can dip their feet into this imaginary water.
Water drips into the aquarium from a device above it. Sometimes the drops fall randomly like raindrops. Sometimes they fall around and around, like playing tag. Sometimes the drops fall all at once, and the ripples make geometrical patterns like flowers.
It is a natural landscape created within a room. Taking it for a resting place, as the visitor starts to relax, the waves progressively take on artificial patterns, which could not occur in nature. As a result, one feels exaltation, but it also arouses unease. Through meticulous programming, the ripples change moment by moment, and never show the same appearance.
This unnatural nature creates a sense of discomfort and also reality. This piece considers the ambiguous border between nature and artifice in the present, where computer programming made up of 0s and 1s permeates our daily lives.
Detroit Jennifer Garza-Cuen
From the artist:
Detroit is the second location in a series of investigations into ideas of place as a defining force in our society.
I am particularly interested in Detroit because it is a place that has experienced an active form of extreme erasure, of transience and of loss that has embedded itself on the psyche of those that live there and those that pass through. Decadence and erasure evokes a very specific pathos and Detroit’s has reverberated around the globe as a kind of symbolic foreshadowing of the imminent end of American Empire.
That said; this is an ongoing project in which my intention is to engage the complexity of Detroit as a lived space as well as its supposed fall from grace.
Images and text via Jennifer Garza-Cuen
Hollow Katie Paterson
From the artist:
A microcosmos of all the world’s trees.
‘Hollow’ is a new commission by the University of Bristol, made in collaboration with architects Zeller & Moye, permanently sited in the historic Royal Fort Gardens.
Spanning millions of years, ‘Hollow’ is a miniature forest of all the world’s forests, telling the history of the planet through the immensity of tree specimens in microcosm. The sculpture brings together over 10,000 unique tree species, from petrified wood fossils of the earliest forests that emerged 390 million years ago to the most recent emergent species. The samples of wood span time and space and have been sourced from across the globe, from Yakushima, Japan to the White Mountains of California. From the oldest tree in the world to some of the youngest and near-extinct species, the tree samples contain within them stories of the planet’s history and evolution through time.