View allAll Photos Tagged surface

City night lights can be so boring. But this one actually turned out well!

© 2007 David Patrick Valera

 

Trish's Awesome Borders

 

You can win these in the Totally Textures Group

  

STM are one of the leading synthetic turf surface installers and maintenance providers for sport and play in the UK. STM have designed and constructed synthetic grass pitches and courts for football, rugby, hockey, tennis, multi-use games areas (MUGA), cricket and bespoke landscape play areas.

Image from NASA's MRO showing the Martian surface.

Surface roots may interfere with lawns, sidewalks, or other landscape features. When planning a planting it is important to take the kind of tree into account so that long-term damage to the built environment is minimized.

   

Please join me in my blog “Botany Without Borders: Where Design Meets Science”

 

botanywithoutborders.blogspot.com/

 

ocado ULTRA KITCHEN ROLL

When they reach the underwater city, the Jedi ask for help but they are refused becaused they have aided the traitor Jar-jar Binks. They do however, lend them a Sea Dragon on which they can ride into the main Imperial city of Naboo.

A photograph of the surface of a bubble by Victor Napolski.

Yasuaki Onishi - Reverse of Volume RSK (2016)

Photo Hendrik Zeitler

Yasuaki Onishi - Reverse of Volume RSK (2016)

Photo Hendrik Zeitler

twitter.com/chrispirillo - Playing with the Surface that Microsoft is bringing to Gnomedex.

Created for The Daily Shoot on January 27, 2011 #DS438:

Make a photograph that features a very distinct curved line or surface today

 

First thing that popped into mind was the curved surface of our wok. Although it turned out different as I first had in mind, I quite like the result.

This time was much more successful. I applied the solder paste with the tip of a sewing needle. Smearing it across the pads until I thought I had enough.

 

Result: No bridged pins!

I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.

 

artgallery.calpoly.edu/2020/beyond-the-surface

 

As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.

 

In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”

 

Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”

 

Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.

   

I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.

 

artgallery.calpoly.edu/2020/beyond-the-surface

 

As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.

 

In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”

 

Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”

 

Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.

   

Tribo's Bar - Maringá, PR

I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.

 

artgallery.calpoly.edu/2020/beyond-the-surface

 

As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.

 

In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”

 

Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”

 

Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.

   

Image from NASA's MRO showing the Martian surface.

My card at the surface table. Here I can drag and drop pictures, virtual business cards, tweets etc. on my card...

With pen, texture paint and enamelling powder

participatory and dynamic print installation

organza, litho crayon & china marker

in collaboration with Jessica Meuninck-Ganger

(Aug. 13, 2014) Ensign Ashley Mannix is the first female 5K runner to cross the finish line during the Naval Surface Force, U.S. Pacific Fleet Surface Line Week. More than 40 commands will participate in professional and athletic events until Aug. 15, and will conclude with a picnic and awards ceremony. (U.S. Navy photo by Mass Communication Specialist 2nd Class Zachary Bell/Released)

Done with natzi or communist human treatment machine tools?

At Choeung Ek, human bones and fragments of clothing still surface as rains wash away the earth. Groundskeepers collect them for safe storage every few weeks.

 

© David Koiter - All Rights Reserved. No usage allowed including copying or sharing without written permission.

May 2009...The Katiku family in the drought prone Usugu Village, east Kenya, have been able to grow crops on their land despite no rain for four years thanks to the help of UCCS. The partner built a small sub-surface dam in a nearby river which pumps water up on to their land. With the farming techniques that Makula Katiku has learned on the UCCS training days, he is now able to grow enough food to feed his family and sell the surplus at the market. With the extra money he is able to educate all five of his children, build his own house and buy extra livestock.

I am in an exhibition at Cal Poly’s University Art Gallery "Beyond the Surface: The Photograph as Object", an exhibition curated by Aline Smithson from January 9 - January 31, 2020.

 

artgallery.calpoly.edu/2020/beyond-the-surface

 

As the practice of photography moves farther away from the tactile process of winding film through a camera and long meditative hours spent in the wet darkroom, the contemporary digital photographer is now experiencing an entirely different relationship to the image. With the proliferation of digital capture, with Photoshop replacing the darkroom, and instantaneous digital printing at the push of a button, photographs are now equally a product of the mind and technology, with the ability for limitless reproduction.

 

In response to this loss of the evidence of the artist’s hand, a number of artists are reconsidering the potential of an image with a move towards making rather than taking photographs. By using vintage and contemporary photographs as a starting point, artists are creating physically layered works of art that result in a handmade one-of-a-kind object, expanding the notion of what we consider photographic art. The exhibition Beyond the Surface features a variety of interventions and investigations that include collage, sewing, cutting, weaving and embroidery, all interrogating the material qualities of the physical photograph as an attempt to recover the magic of the photograph-as-object. As artist Maria Font describes, “My hands intervene with each work manually, and through this intimate, performatic ritual, the embodiment of the photograph becomes the common ground where the familiar and the foreign meet, as an individual attempt to blur the lines between the internal and external spaces of the body. The construction of these mental maps evokes diverse psychological states and emotions with meanings that are in constant flux, never fixed, just like our identities.”

 

Artists in the exhibition work in two ways, using imagery that they have created in camera or by using found or familial vernacular photos. The image is then punctured, deconstructed, or cut apart and reborn as a work of art, separate from the original image. Many of the artists explore themes of growing up, family, and memory; others use contemporary imagery to consider self or culture. Artist Liz Steketee states, “I use my life and family as material for my work. By doing this, I am able to explore the complexity that exists in the everyday and the richness found in the mundane. Through the use of montage, collage, and purposeful juxtaposition of photographs, it is my intention to examine the “truth” in life.” Artist Joe Rudko cuts and reorganizes found photographs to “break the illusion of the pristine image and suggest a variety of interpretations it can have. Working with analog methods in a digital era places these snapshots in dialogue with the present moment.”

 

Revisiting photographs with an Exacto knife or sewing needle provides a new way of examining, organizing, and interacting with more than just the image on the page. This reconsideration opens the door to limitless possibilities of creation, inspiring us to look more deeply at the potential of photographic imagination.

   

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