View allAll Photos Tagged surface
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.
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/146352141956
Just Pinned to Cycle Lane Line Marking: Cycle Lane Colour...
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.
Quick-Look Hill-shaded Colour Relief Image of 2014 1m LIDAR Composite Digital Surface Model (DSM).
Data supplied by Environment Agency under the Open Government License agreement. For details please go to: www.nationalarchives.gov.uk/doc/open-government-licence/v...
For full raster dataset go to: environment.data.gov.uk/ds/survey
These magnificent Art Deco styled wrought-iron gates were erected in 1940 to the memory of Albert Morris by the Zinc Corporation. They were originally located near the Zinc Mine surface complex.
The gates were moved to their current site by the Broken Hill City Council in 1991 and now provide a fitting entrance to the first Albert Morris plantation.
Albert Morris:
Albert Morris (1886 - 1939), botanist and assayer, was born on the 13th of August 1886 at Bridgewater, South Australia, second son of Albert Joseph Morris, stonecutter from England, and his wife Emma Jane, née Smith. The family moved to the new silver-field of Thackaringa, New South Wales, and in 1890 to Broken Hill. From an early age Albert developed a strong interest in the plant life of the arid interior. His lifelong passion for botany may have resulted from an injury to his foot in infancy that left him crippled for life and debarred him from sport. He was educated at Burke Ward Public School and at Broken Hill Technical College, where he obtained a diploma in metallurgy; he grew and sold pepper trees to pay his fees. He was employed by the Central Mine from 1902 and became its chief assayer.
At Broken Hill on the 13th of April 1909 he married Ellen Margaret Sayce, dressmaker. She was a forceful personality and a staunch member of the Society of Friends; in 1918 Morris also became a Quaker after an Anglican upbringing. They built a tiny cottage in Cornish Street, Railwaytown, an area most exposed to soil erosion and drifting sand: trees had been cut for fuel and years of overstocking and the rabbit plague had denuded the land.
Morris cultivated a desert garden and, assisted by Edwin Ashby, experimented with a wide range of plants from dry areas, including Arizona and South Africa. He found that species grown from seed collected locally withstood drought conditions better than others. In 1920 with W. D. K. MacGillivray he helped to found the Barrier Field Naturalists' Club and served as its secretary until his death. Numerous field expeditions in his spare time greatly increased his knowledge and his collection to over 5000 pressed specimens, which his wife later gave to the Waite Institute of South Australia. Strongly practical, he gave away hundreds of trees and shrubs to schools and public bodies and worked to preserve the Aboriginal paintings and rock carvings at Mootwingee from vandalism.
Until 1936 no mining company was willing to control sand drift by implementing Morris's idea of a green belt, which he asserted would 'not only help, but will wholly remove the problem … providing you fence a fairly large area with stock and rabbit-proof fencing, and give some help for the first few years'. W. S. Robinson, managing director of the Zinc Corporation Ltd, decided to support Morris, who showed a remarkable understanding of the three basic principles of natural regeneration: the exclusion of grazing animals and rabbits; careful positioning of fences to protect trees from prevailing winds; and choice of local plants well adapted to the hot, dry conditions.
In May 1936 the company established a twenty-two-acre (9 ha) plantation, later named the Albert Morris Park. Morris provided seedlings and advised the planting of native grasses, gum trees, and old man salt bush, a species that had almost disappeared. Within eighteen months the results were so impressive that the North Broken Hill and Broken Hill South companies joined the scheme.
Morris did not live to see the greening of Broken Hill by the regeneration area, parks, bowling greens, and recreation areas. Survived by his wife, but childless, he died of a cerebral tumour on the 9th of January 1939 at Broken Hill and was buried with Anglican rites. A drinking fountain in front of the Technical College commemorates his work. Gentle and a tireless amateur botanist, Morris also enjoyed music and reading. Known simply as 'Uncle Bert', he was a kind host to many nurses sent to Broken Hill to train at the hospital.
Source: Broken Hill City Council & Australian Dictionary of Biography.
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.
An Aveling Barford grader spikes the laterite surface of Kok Talat's main road. Sapper Ringwood is holding the tape left of picture.
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.
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/143577707436
Just Pinned to Car Park Painting: Cycle Lane Colour Painting in...
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/149565150156
Just Pinned to Cycle Lane Line Marking: Line Painting in...
By Sherrie Thai of ShaireProductions.com
Feel free to download and use these as a background for commercial or noncommercial projects. If you decide to use them, please let me know how it goes by sending a link or an image. Enjoy!
participatory and dynamic print installation
organza, litho crayon & china marker
in collaboration with Jessica Meuninck-Ganger
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/143994092471
Just Pinned to Anti Slip Step Paint: Cycle Lane Line Markings in...
Over 50 years old, I think. We seldom see this type of glass nowadays in Tokyo. I think I took this pic a while ago at the door of an old, deserted apartment house. I don't think the house still stands.
Netball Court Surfacing:
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