View allAll Photos Tagged perception
Spent the weekend at West Lulworth in Dorset. One of the most beautiful chunks of coastline in the UK. Fortunately, we witnessed a beautiful sunset as well.
Location : Durdle Door, West Lulworth, United Kingdom.
Looking beyond whatever is holding you back, whether it's judgment, fear, habits...and find your true path.
Akelarre’s corridor extends as a narrow sequence of timber ceiling, timber floor, dark stone partitions, and a reflective wall washed in amber light. Small sconces repeat along the right side, their circular halos doubling across the polished surface, while concealed linear lighting separates the stone walls from the ceiling. The passage bends and narrows in the distance, withholding its destination while making forward movement irresistible.
The photographer uses a Google Pixel 3 vertically and stands close to the reflective wall, letting it occupy nearly half the frame. This asymmetric position strengthens the corridor’s vanishing point and turns every fixture into both object and reflection. At 1/50 second and ISO 184, the exposure preserves the subdued hospitality lighting without bleaching the warm timber or losing texture in the charcoal stone. The smooth right wall, rough masonry, and softly grained floor become distinct tactile bands.
Set on Mount Igeldo above the Cantabrian coast, Akelarre is celebrated for panoramic views, yet this photograph deliberately turns inward. The sea is absent; orientation comes through material, rhythm, and carefully controlled illumination. Architecture here manages anticipation between guest room, restaurant, spa, and overlook. The long passage is functional circulation, but the chosen viewpoint interprets it as a calibrated transition from enclosure toward experience. Repetition slows perception, reflections widen the narrow section, and the distant turn postpones arrival. Rather than documenting a hallway neutrally, the image presents hospitality as choreography: guests are guided through darkness, warmth, and compression before the building releases them toward food, landscape, or rest.
sometimes you see things that weren't there before.
ofcourse, you can't really know whether thats true.
*Loud, Busy distractive environment.
*Alcohol beverages may appeal and lead to unproductive learning and behaviour.
*May lead to disruption from friends, family, cigarette smoke and rude customers
4me4you Features 'Monsters, Chambers, and Trapdoors'.
Artist: Georgia Dymock
In 'Monsters, Chambers, and Trapdoors', Georgia Dymock explores the idea of identity, saturating her figures with subtle mythological and fantastical traits. In doing so, the artist invites viewers to question traditional narratives and their own perceptions of heroism and monstrosity.
4me4you recently visited Monsters, Chambers, and Trapdoors, a captivating exhibition at Gillian Jason Gallery, showcasing the latest works by Georgia Dymock. In this thought-provoking body of work, Dymock invites viewers into a world where myth, fantasy, and identity intertwine, populated by voluminous, anthropomorphic figures that challenge conventional narratives around gender, sexuality, and the human form. With her intricate compositions, Dymock delves deep into the subconscious, exploring themes of transformation, desire, and the complexities of selfhood.
At the heart of Monsters, Chambers, and Trapdoors is the idea of identity, explored through figures imbued with subtle mythological and fantastical traits. By saturating her creations with elements of the unreal, Dymock urges us to question not only the nature of heroism and monstrosity but also how we perceive ourselves and others. One recurring motif in her recent works is the pairing of figures—often physically close yet emotionally distant. Drawing inspiration from Plato’s concept of the soulmate, where humans were once unified beings with four arms, four legs, and two heads, Dymock explores the aching separation and yearning that followed their division by Zeus. These paired figures, while physically intimate, convey a palpable sense of detachment, creating a tension that highlights the alienation and objectification of the human body. The cold, metallic surfaces of these figures further emphasise their non-human qualities, evoking a chilling sense of robotic detachment.
This disconnection raises intriguing questions about whether Dymock is creating figurative works or abstract still-life. Her abstraction reduces human forms to their most elemental features, transforming them into symbolic objects that invite reflection on disintegration, dissolution, and the fragmentation of the self. Works like Bathers and Octopus Hattake this fascination with hybrid and fragmented bodies to an extreme, using oversized limbs and textured contrasts to blur the line between allure and danger, exploring the complex interplay of touch, attraction, and threat.
Dymock's exploration of "monstrosity" offers a powerful subversion of societal norms, drawing upon a wide range of sources to reinterpret classical mythological figures. Works like Two-Faced and Sucking Thumbs reimagine figures such as Medusa and the sirens, imbuing them with ambiguity, empathy, and playful tension. These reinterpretations challenge traditional depictions of the female body in myth and art, critiquing how these archetypes have been shaped by visual culture. By presenting figures that embody traits deemed excessive or grotesque, Dymock invites viewers to reconsider their perceptions of beauty, power, and femininity, breaking down rigid standards of behavior and appearance.
Throughout her work, Georgia Dymock creates a space for introspection and dialogue, encouraging us to look beyond surface appearances and engage with the deeper complexities of identity. Her practice, which seamlessly blends traditional painting techniques with digital processes, reflects her ongoing exploration of transformation and the fluidity of forms. Beginning with digital compositions, Dymock manipulates her imagery using programming software before translating these elements onto the canvas. Through an ongoing exchange between digital and analog media, her work evolves, resulting in richly layered oil paintings that synthesize technology and tradition in a dynamic and innovative way.
Currently based in London and represented by Gillian Jason Gallery, Dymock is an emerging talent with an MFA in Fine Art Painting from the Slade School of Fine Art (2023), a GradD from Chelsea College of Art (2020), and a BSc in Anthropology from UCL (2019). Her accomplishments include winning the 2023 Cass Art Prize, being selected as a finalist for the 2024 Ingram Prize, and being named one of the New Contemporaries. Dymock's work is featured in private collections worldwide and is part of the institutional collection of the Museum Inima de Paula in Belo Horizonte, Brazil.