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Ray Borbon seconding on c. the 10th pitch of the Northeast Buttress of Talchako during the first ascent. The glaciers below are unnamed.
Restored areas contrast with farmed cattle land in the hills of Guanacaste.
May 2017
Guanacaste, Costa Rica
Photo Credit: Sabin Ray, World Resources Institute
The stump can help shelter the seedling as it grows up.
May 2017
Guanacaste, Costa Rica
Photo Credit: Sabin Ray, World Resources Institute
We saw the ray feeding, in which a diver was covered in hungry rays. I didn't get a shot of when she had 10 or so rays covering her, but here she is with one big one getting up close and personal.
A colourslide scan of the Volvo car belonging to the late Ray Reardon who was six times world snooker champion. It is pictured here outside the main reception of Pontins Sand Bay Holiday Camp in 1975 where he was demonstrating his amazing talent on the snooker table. In fact the registration plate says it all. A true professional. May he rest in peace.(Ray Reardon 1932-2024)
Location : Pontins Sand Bay Holiday Camp,Somerset.UK.
© PJR-Images 1975/2024
More mail art sorting. Amongst the boxes of dusty mail we found this box of old toys that were pinned to our walls in London including lots of plastic ray guns.
Ray Schamp’s unique style of origami was influenced by his long-time interests in visual art and the sciences. Raised in Baltimore by working artists and science professionals, he emerged from his childhood with an appreciation for order, the natural world, and design. His art reflects his experiences growing up, his studies of biology at Oberlin College, and his current work as a web developer.
Schamp characterizes his style of origami as ‘corrugation’, in reference to the pleated surfaces that comprise the work. Through the development of this genre, Schamp has become involved in the greater community of origami artists, especially those who focus on the creation of repeated patterns in paper. His participation in this community has refined Schamp's understanding of his own work by challenging him to deeply explore the nuances of his technique and theory.
For Schamp, the experience of making each piece is as important as the piece itself – the art of origami lies in the evolution of the flat piece of paper into its final form. He understands his work as a form of emergence, where the end result is not pre-meditated, but is a function of the process by which it was created.
Corrugations differ from traditional origami not only because they are non-representational, but also because the role of each crease is apparent in the final piece. As described by a colleague in the origami community, “The bare bones of the fold displayed are stripped to their essentials. Here is folding from first principles…” Schamp’s work demonstrates the basic mechanics of paper, because each crease visibly contributes to the larger structure.
Teaching is a vital part of Schamp’s artistic practice. He understands origami corrugations as a medium for expressing mathematical and scientific ideas, and encourages others to do so as well. By sharing his method and philosophy of folding, he hopes to inspire artists, both within and outside of the origami community, to further explore his ideas.