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- Dedicated the book Pattern Recognition by William Gibson.
William Gibson here: www.williamgibsonbooks.com
All rights reserved. © copyright by Seung Kye Lee
- Fine art prints: www.leeseungkye.com
- Blog: seungkyelee.wordpress.com/
This was one of the Lilly flowers - the focus was not all that good, so I was having a "little play" in Picasa and quite liked the patterns and colours.
Nemo seemed angry that morning. Everytime I tried to get closer to the anemone, it kept sprinting to my face as if it was trying to challenge me into some kind of physical duel.
This is a work in process, it will be a tea towel. I think red rick-rack will be the trim for the towel.
Water can do some interesting things. The 10 year old in me loves the shapes in this image.... triangle, hexagon, cuboid, oval. It was relatively warm that day for winter and it wasn't snowing so maybe the water in that part of the pond was still undecided or it was in the process of melting or just freezing back up.
...and then there is the orgy of sorts that was going on with the little blue springtails. There were thick writhing mats of them all over the edges of the pond that day. In some areas, they left behind piles of white exoskeletons...apparently many of them molted at the same time.
Goose Pond Natural Area, Iowa
20mm extension tube with 105mm macro lense.
A simple embroidery pattern of concentric cirlces designed for practicing embroidery stitches. Blogged & free pattern here.
Patterns of Power is a series of photographs of contemporary art museum interiors. The images are tightly cropped, square close-ups of the angles, patterns and textures common in contemporary museum architecture. This series builds on a previous project - Museum Patterns - which exists online at museumpatterns.tumblr.com.
In a globalised world, museums distinguish themselves through increasingly novel and unlikely buildings, which are designed by star architects like Zaha Hadid and Frank Gehry. Interestingly, many of the buildings’ common features blur the line between art and architecture: walls meet at odd angles, the dominant white surfaces are interrupted by a red feature wall or rail, and material textures are introduced in the form of polished concrete and weathered steel. Museum Patterns re-presents these features as two-dimensional prints. The cropping produces flattened and abstracted images that are at odds with the three-dimensionality of the original subject. The photographs in this series also highlight slight and almost imperceptible flaws in the white-walled galleries, with each image revealing a small imperfection: a watermark on the ceiling, a messy paint job, a scuffed shoe mark, or an accidental lump in the wall.
Each of these flaws represents a tear in the façade of power. The white walls that typify contemporary art museums are an attempt to neutralise the space, both physically and ideologically. The Modernist notion of aesthetic autonomy can be seen as a political strategy, rather than just a philosophy towards exhibition display. The museum is a predominantly physical space, so decisions such as a gallery’s layout or wall colour subtly communicate value and power. Patterns of Power draws attention to the physicality of the museum, and by pointing out subtle physical marks of human error, I am concurrently questioning its privileged role as a creator of knowledge and promoter of dominant cultural values.