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maybe it's because i just finished reading David Foster Wallace's essay on "lost Highway", but these three photos seem Lynchian.
Succession is an exhibition of new works by Gaia, Nanook and Sebastian Moratana using the streets and history of Baltimore as material. Stemming from a practice of producing art in the public sphere, the show explores the social dynamic of the local urban environment. Situated in the heart of downtown, the work investigates the development and surface of the city in its simultaneous state of aspiration and decay.
Gaia’s work for Succession exhibits the narrative of Baltimore’s formerly glorious retail corridor - from the evacuation of white flight, to the divestment and subsequent redevelopment of the area.
Nanook’s street practice is geographically re-presented in the gallery through a series of objects amd images. The application of illegal street work becomes a vehicle for the exploration of forming a new urban environment derived solely of abandoned spaces. White Coffee Pot on Franklin and Howard Street which overlapped with a row home at Ashland and Castle is an example of these new formations.
"Stoops" by Sebastian Moratana , is an installation work that seeks to represent the ebb and flow of urban communities. By integrating a physical part of the street in a gallery setting, the objects encourage the viewer to participate in Baltimore's unique stoop culture by sitting, standing and touching the historically iconic "white marble steps." The stoops are at once past, present and future. They have been salvaged from homes, neighborhoods and communities that have ceased to exist. Like those communities, the steps can be rebuilt, but once removed the original spirit is gone. These will never be made again from the local stone; the area quarry now only produces rubble and dust. Only by honoring the past can we attempt to rebuild the community that was lost.
3D and somewhat irregular architectural geometry courtesy of the bus station on Shudehill.
Manchester, UK.
4 April, 2011.
Sorry for the dark picture from my phone. The grey is kona coal.
I used this tutorial:
themodernquiltguild.com/2012/01/29/100-days-week-of-impro...
I cannot see the frame numbers through the red window of the Adox with this film (Shanghai GP3 - the backing paper is black with pale blue numbers), so had no idea whether I was winding on enough ... well, obviously not.
Then I set up up a copying stand and photographed the negatives on a homemade lightbox. I haven't adjusted the odd WB as I like the sepia effect.
There was a decision to be made about how to capture the frames, and I decided to start as if from the "correct" beginning; it could be done differently, which would produce a different effect. Perhaps I'll try that one rainy day.
I think a series of happy accidents has created something rather strange and beautiful ...
Nymphaeaceae is a family of flowering plants. Members of this family are commonly called water lilies and live as rhizomatous aquatic herbs in temperate and tropical climates around the world.
~Wikipedia
This is a composite of 5 different shots of Arenal Volcano in Costa Rica. It was a blast to shoot the volcano and I would love to go back and shoot again.
I cannot see the frame numbers through the red window of the Adox with this film (Shanghai GP3 - the backing paper is black with pale blue numbers), so had no idea whether I was winding on enough ... well, obviously not.
Then I set up up a copying stand and photographed the negatives on a homemade lightbox. I haven't adjusted the odd WB as I like the sepia effect.
There was a decision to be made about how to capture the frames, and I decided to start as if from the "correct" beginning; it could be done differently, which would produce a different effect. Perhaps I'll try that one rainy day.
I think a series of happy accidents has created something rather strange and beautiful ...
i search your profile for a translation
i study the conversation like a map
'cause i know there is strength
in the differences between us
and i know there is comfort
where we overlap
come here
stand in front of the light
stand still
so i can see your silhouette
i hope
that you have got all night
cause i'm not done looking yet
each one of us
wants a piece of the action
you can hear it in what we say
you can see it in what we do
we negotiate with chaos
for some sense of satisfaction
if you won't give it to me
at least give me a better view
come here
stand in front of the light
stand still
so i can see your silhouette
i hope
that you have got all night
cause i'm not done looking yet
i build each one of my songs out of glass
so you could see me inside them i suppose
or you could just leave the image of me
in the background i guess
and watch your own reflection superimposed
i build each one of my days out of hope
and i give that hope your name
and i don't know you that well
but it don't take much to tell
either you don't have the balls
or you don't feel the same
come here
stand in front of the light
stand still
so i can see your silhouette
i hope
that you have got all night
cause i'm not done looking yet
i search your profile for a translation
and i study the conversation like a map
'cause i know there is strength
in the differences between us
and i know there is comfort
where we overlap
© 1994 ani difranco / righteous babe music