View allAll Photos Tagged expressionism
Another landscape version of the ‘Cheesegrater’, a car park in Sheffield, South Yorkshire, England. It was designed by architects Allies and Morrison.
In 2009 it won a RIBA (Royal Institute of British Architects) Regional Award. These awards are given to UK buildings for their regional architectural importance. In 2013 it gained third place in the 'World’s Coolest Car Park' awards.
Photo taken in June 2025.
Here is another photo of mine showing a building in London by the same architects: flic.kr/p/Ts4f8Y
Wild thing
You make my heart sing
You make everything groovy
Wild thing!
- The Troggs, 1966
How I'm put together:
Head: Lelutka EvoX Avalon 3.1
Body: Maitreya Lara 5.3
Skin: Amara Beauty
Eyes: Avi-Glam
Hair: Doux - Kiara
Hairbase: Angel Eyes
Shape: Mine - Laurna v.17
Enhancements:
Cazimi, Izzie's, addon+, OYI, Lucci, Warpaint
Apparel:
Dress: Reed - Stella Dress
Shoes: GOS - Adele Crisscross Heels - Reptile
Jewelry:
Earrings: Ysoral - Luxe Earrings Elia
Bracelet: Cae - Engraved Bracelet - Sister
Gemstone Ring: Orsini - Christina Ring
Anklet: KC - Kitty Anklet - Vegas Gold
Poses: Stun
A section of the Walbrook Building roofline, photo taken from the inner courtyard behind Cannon Street in the City of London. Architect: Foster & Partners - Built 2010.
Also PRESS HERE for my other photo.
Sometimes you think nothing is a coincidence. Moments after finishing this GIMPed abstract of "The Wave", I saw a photograph that had many similarities. So I copied the very suitable title of that photo.
The Wave, Almere, Flevoland, The Netherlands.
Design: René van Zuuk (2004)
A dynamic, abstract light-trail effect of city lights at night transforming the mundane luminescence into a roaring cascade of abstract expressionism.
My work explores the invisible architecture of time, velocity, and urban psychology. By utilizing Intentional Camera Movement (ICM) and long-exposure techniques, I deconstruct the static reality of the physical world into its raw, energetic essence.
Stripping away the literal identity of the environment, we cannot see buildings, cars, or people; instead, we are left with the kinetic footprint of an urban landscape.
The rhythmic, staccato dashes of light mirror the fragmented nature of human perception in a hyper-connected, fast-paced world.
Radiant ribbons of amber, crimson, and gold slice diagonally through the consuming darkness like meteor showers frozen mid-flight. It evokes the feeling of moving quickly through a city at night.
The overwhelming warmth of the composition is fractured only by a singular, piercing streak of electric blue at the apex, serving as a cool anchor in a sea of molten light.
The image is structured around a strong diagonal dynamic. The streaks of light flow from the top-right toward the bottom-left, creating an intense sense of velocity and forward momentum. The broken, dashed lines interspersed with solid streaks add a rhythmic, staccato cadence to the visual flow.
The color scheme is dominated by warm, high-energy tones—vibrant oranges, deep reds, and bright yellows. These are punctuated by a singular streak of cool white/blue at the top and a hint of green on the far right, which creates an effective color contrast against the swallowing black background.
While flat by nature, the varying brightness and thicknesses of the light trails create a faux-layered depth. The brighter yellow and white streaks appear to pop forward, while the darker red trails recede into the shadows. The highlights are well-managed; despite the long exposure, the bright lines retain their color profiles rather than completely blowing out into pure white.
A psychological impression of speed over the physical reality of the surroundings.
Philosophically, this photograph captures time rather than a single moment. By extending the exposure, the camera ceases to be a tool that freezes reality and instead becomes a brush that records a duration of experiences, turning a chaotic city scene into an organized blur of pure energy.
Stripped of all physical architecture, the photograph abandons literal reality to paint a raw, visceral portrait of velocity, time, and pure momentum. A compelling example of abstract intentional camera movement (ICM) photography, transforming standard urban illumination into a dynamic, painterly composition.
The word "kinetic" anchors the image in physics and motion, while "traces" introduces a poetic, almost haunting sense of absence reminding the viewer that the physical cars or buildings are entirely missing from the frame. "Kinetic traces" elevates the photograph from an expressive artistic identity into a thoughtful piece of conceptual art.
The image successfully transforms a mundane night scene into an energetic, futuristic canvas. It prioritizes emotional resonance evoking speed, chaos, or a neon metropolis over documentary accuracy, making it a compelling piece of abstract expressionism.
It invites the viewer to step away from documentation and instead immerse themselves in a visceral, fluid meditation on time passing through space.
Holstentorhalle, Backsteinexpressionismus (Brick Expressionism) in Lübeck, Germany.
Design (ca. 1920): Friedrich Wilhelm Virck
I took an image of graffiti painted inside a culvert and used the colors to re-create the meanings of the tags. I don't know if the original words or symbols spoke of violence or vulgarity, but by restructuring the elements used by the original artists, my intent here is turn their hurt into heart.
- Expressionism - TS2 - LR-2
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New building currently under construction, with slanted window lines, in the City of London. Architects: Flanagan Lawrence.
Les œuvres d'art monumentales illustrent la montée dans les années 90 d'une nouvelle architecture influencée par de nouvelles méthodes de conception et de processus de production numérisés. En permettant la variation de forme, qui est caractérisée par le flux d’informations qui la traverse, ces méthodes ont stimulé la création d’une architecture animée, vivante et dynamique dans laquelle se croisent les processus biologiques et la dynamique des fluides. Cette tendance, dite numérique, arithmétique et numérique, remet en question une architecture qui serait immuable et définitive au profit d'une "architecture liquide" (Marcos Novak), aux formes libres et évolutives, dans laquelle des cercles organiques et des surfaces continues se mélangent. Cela correspond au style de cette autre architecture qui, dans les années 1960 et 1970, est revenue aux styles plus anciens (gothique, baroque, expressionnisme) en évoquant la courbe, l'organique et le mouvement par rapport à la rigidité de l'angle droit.
The monumental works of art illustrate the rise in the 1990s of a new architecture influenced by new methods of digitized design and production processes. By allowing shape variation, which is characterized by the flow of information passing through it, these methods have stimulated the creation of an animated, dynamic and dynamic architecture in which biological processes and fluid dynamics intersect. This trend, known as numerical, arithmetical and numerical, calls into question an architecture that would be immutable and definitive in favor of a "liquid architecture" (Marcos Novak), with free and evolving forms, in which organic circles and continuous surfaces take place. mix. This corresponds to the style of this other architecture which, in the 1960s and 1970s, returned to older styles (Gothic, Baroque, Expressionism) evoking the curve, the organic and the movement in relation to the rigidity of the angle law.
Abstract shot of the Brooklyn Bridge in New York, USA. It opened in 1883. Designed by John Augustus Roebling.
Photo taken in May 2024.
A larger format photograph of an image in my recent, square, 'Forlorn Windows, Birmingham' series.
Also see flic.kr/p/2rKBMH2.
Photo taken in October 2025.