View allAll Photos Tagged surface
PHOTOGRAPHY: Aidan Monaghan for Wheelabrator, 2012.
The new visitor centre at the Giant’s Causeway in Northern Ireland is a bold architectural design that mirrors the dramatic basalt formations of the
Causeway with its raw and minimalist aesthetic. To realise the architects’ vision of quiet monumentality,
shot-peened stainless steel surfaces played a key role in the composition.
We had two stereo microscopes at the Hackspace (this is my own one), and people used them to solder a DC-DC converter PCB designed by Matt:
www.mattvenn.net/2011/09/26/dc-booster-pcb/
Photographed at the Bristol Hackspace: bristol.hackspace.org.uk/
participatory and dynamic print installation
organza, litho crayon & china marker
in collaboration with Jessica Meuninck-Ganger
Cleverly parked my BacBook Pro on the MSFT Surface table... in a very magnanimous mood, MSFT security did not throw me out of the building for desacrating the thing :)
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.
via Outdoor Surface Painting outdoorsurfacepainting.tumblr.com/post/146352141956
Just Pinned to Cycle Lane Line Marking: Cycle Lane Colour...
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
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.
170829-N-QR145-068
BLACK SEA (Aug. 29, 2017)
Sonar Technician (Surface) 2nd Class Kete Lanty, left, and Sonar Technician (Surface) 1st Class Jeremy Finfrock practice mechanical advantage combat hold techniques during security reaction force training aboard the Arleigh Burke-class guided-missile destroyer USS Porter (DDG 78) while underway in the Black Sea, Aug. 29, 2017. Porter, forward-deployed to Rota, Spain, is on its fourth patrol in the U.S. 6th Fleet area of operations in support of regional allies and partners, and U.S. national security interests in Europe. (U.S. Navy photo by Mass Communication Specialist 3rd Class Krystina Coffey/ Released)
GW-Corroded-surfaces-show-
Grafik Warfare presents
CORRODED SURFACES
Unique artwork on forgotten surfaces
Dates:
Private view: Thursday 3rd March
Show opens: Friday 4th March
Show closes: Sunday 20th of March 2011
Location
Grafik Gallery
284a Portobello Road
London
W10 5TE
Confirmed artists:
Artists:
STICKEE
SNUB23
T.WAT
Dan K
Leeks
Martin Squires
Asboluv
Eyesaw
Sinna one
JesseRobot
Nol
Mishfit
The Lover
Luke da duke
Orco
Limbo
Fetch
Psychonautes
Special guests:
Req
Julian Kimmings
Ink Fetish
Carleen de Sozer
FAKE
Teddy Baden
Dotmaster
Fauna Graphic
Rocket