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
Ok, this one is phony. Enjoyed the Women Painters of Washington exhibit this summer at Pioneer Tower in Seattle. Lots of very appealing work. Also an ingenious gallery system, with walls on rollers in curved tracks, so they can be moved around easily. Apparently there aren't enough women painters in Washington, because at the back of the room there was a completely empty wall, which I photographed and posted previously. If I were a woman, and an Abstract Expressionist painter, and resident of Washington, maybe I would have had a work like this accepted for the show. But I'm not, not, not, and didn't, so you can only see it here.
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
Another detail shot of Lanark County Buildings, also referred to as South Lanarkshire Council Headquarters, Hamilton, Scotland.
Built in 1964.
Architect: David Gordon Bannerman.
- Expressionism - TS2 - LR-2
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© John Edward Bankson
Chilehaus, Hamburg - Germany
German Brick Expressionism, an architectural style primarily associated with the 1920s and 1930s in Germany.
The Chilehaus building was built between 1922 and 1924.
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.
A larger format photograph of an image in my recent, square, 'Forlorn Windows, Birmingham' series.
Also see flic.kr/p/2rKCGN7.
Photo taken in October 2025.
Landscape view of The Columbia Center in downtown Seattle, the second tallest building on the west coast of the USA. I hope that you like this composition.
Architects: Chester L. Lindsey
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.
Another photo of this apartment building facade in Barcelona, Spain. It was inspired by the building opposite, Gaudi’s wavy La Pedrera. Facade architect:: Toyo Ito.
- June 2020 - Expressionism 1940 Landscape Painting - LR
Also join me at
www.flickr.com/people/jax_chile/
www.facebook.com/johnb.fotografia/
-----------------------------------------------------------------------------------
Thanks for your visit, FAVs, and comments, I truly appreciate it!
-----------------------------------------------------------------------------------
Press 'F11' for Large View then 'L' for a Largest View.
-----------------------------------------------------------------------------------
This image may not be reproduced or used in any form whatsoever without my express written permission.
All rights reserved.
© Fotografias de John B
© John Edward Bankson